maybe I'm amazed ❤️‍🔥

PIPES OF PEACE

Howard Sounes: Now he'd reached middle life, Paul also determined to make the movies he'd been talking about for years, commissioning his animator friend Geoff Dunbar to go ahead with a pilot for the Rupert the Bear movie, the pilot based on a 1958 story in which Rupert visits a grotto inhabited by frogs. Rupert and the Frog Song would start with a scene showing Rupert at home with his mother and father in what Dunbar - mindful of Paul's sentimental feelings about his childhood - drew as a cosy post-war domestic setting, reminiscent of Alfred Bestall's illustrations; 'there is a thing of Mum being this central figure,' says Geoff, who was similarly sentimental. For the underwater sequence Dunbar took additional inspiration from a series of Matisse paper cuts Paul and Linda were in the process of buying. Rupert and the Frog Song would take two years to make, and would feature a new song, 'We All Stand Together', which Paul had already recorded with George Martin.

Apart from authorising the money for the film, which he was financing entirely, the project didn't require much of Paul's time. So while Geoff got on with the slow work of animation, Paul pursued his other movie-making ambition: that of bringing a live action musical adventure to the screen, the project which had begun life as Willy Russell's Band on the Run. The last Russell had heard from Paul on the subject of the film was just before the star went on his ill-fated trip to Japan in 1980: he assured the playwright that they'd make their picture when he got back. After the drug bust Paul fell silent. 'Occasionally Linda would ring and we'd have a blather and she'd say, "Oh God, I wish he'd do that movie,"' says Russell. 'Next thing we heard he was making a movie called Give My Regards to Broad Street.' This was an almost totally different film, borrowing only one or two ideas from Russell's script. Part of the thinking was that Paul would, for the first time, try serious acting, in the sense of being a leading man. One of the first people he consulted was David Puttnam, now Britain's leading film producer, having enjoyed success with Midnight Express (1978) and Chariots of Fire (1981), for which he collected the Oscar for Best Picture. Like many of Paul's acquaintances, Puttnam was used to McCartney tapping him for advice. Linda would typically make such calls on Paul's behalf, to the point where David's wife would groan when Linda called. As the film-maker, ennobled in 1997 as Lord Puttnam, recalls:

'She said to me one day, "Why don't you pick up the phone and say, 'Yes, Linda what do you want?'"' So it was no surprise when the McCartneys called for advice on making their new movie.

Paul explained his vision for Give My Regards to Broad Street to Puttnam over supper with their wives at the Savoy Grill. The film was to be a 'musical fantasy drama in the classical [sic] tradition of The Wizard of Oz', the title being Paul's laboured pun on the George M. Cohan song 'Give My Regards to Broadway' and the fact that the dénouement would be shot at Broad Street train station in the City of London.52 The plot - completely different to Willy Russell's script - had come to Paul while sitting in his chauffeur-driven car in a London traffic jam: what would happen if the master tapes of his new album were stolen? He had written the screenplay himself, and what he had written bore little relation to a professional script; it was too short, just 22 pages, and brief though it was the script was fatally flawed, as Puttnam saw from the first page:

The script started with Paul in the back of a Rolls Royce complaining bitterly about the emptiness of his life. I said, 'Look, let me tell you on page one you've already got a problem. People see you, see a Roller, and you're moaning? ... They might eventually, by the end of the film, come to understand some of the pressures and problems you are under. Not on reel one! They're going to hate you. You've got everything they want, and you're moaning about it.'