McCartney channels inspiration into ‘Full’ slate

Q: You must have had an interesting perspective on videos in the ’80s and beyond because it was no stranger to you. You did videos — you even did movies — with the Beatles, so it wasn’t quite as revolutionary of a concept as it was in the U.S.

McCartney: “The difference was you suddenly had to be a short filmmaker as well, and not all of us liked it. The process was quite wearing. You’d sort of farm it out to three or four directors who you thought were hot and (one) would come back with — it was a bit like a comedy sketch — ’I see you on a mountaintop in Tibet wearing nothing but a loincloth. The Sun God shines down ...’ and you’re going ’Oh no.’ Then the next one was, ’I see you in a scene from the Keystone Cops. You’re hanging off the back of a wagon, it’s all shot in fast-motion black-and-white.’ Or it was, ’I see you as a scene from ”Casablanca” ... I see you as the Terminator.’ You’re just desperate to get something where you can go, ’This looks alright.’ Occasionally there would be a good idea ... and the rest of the time there was an element of embarrassment ’cause you thought of yourself as a singer, not a film star.”

Q: Was it different when you were doing it in the ’60s?

McCartney: “Yeah, it wasn’t quite so important, so we would say, ’Oh, look, just get a camera and we’ll get girls with grass skirts and we’ll just stand there in our Sgt. Pepper’s costumes and sing “Hello Goodbye.”’ There wasn’t that much thought that went into it, which made it a little bit more innocent and less precious.”

Q: Of the live material on “The McCartney Years,” it’s kind of brave to include your Live Aid performance in the set.

McCartney: “Oh my God, the Live Aid was just one of those things I’d sooner forget. I came in from the country and sort of drove in and every window in Britain was open with televisions on and Live Aid blaring out. It was a national event and I knew I was gonna be on it, but I didn’t take anyone with me. I didn’t have a roadie. I didn’t even have anyone to make sure my mic or speakers were working. And Bob Geldof just said, ’Well, your piano’s behind that curtain. You’re on.’ There I was in front of the world ... and I heard in my monitor very ominous sounds of roadies talking: ’Is this the plug?’ I figured, ’I’ll just keep plugging on,’ but I couldn’t hear myself. I couldn’t hear anything. And then it suddenly became clear my mic wasn’t on, but the dear old audience helped me out, God bless ’em. They all sang it. So I escaped by the skin of my teeth. It was sort of a nightmare. If you asked me for three nervous moments, I think that’d be top.”

Q: Is there any news about the Beatles’ catalog going online?

McCartney: “I think it’s all happening soon. There are contractual things, and you’ll find that someone in the loop maybe doesn’t want to give what they should give, so it’s negotiating. But I think we’re kinda set. I think that Apple is set to do their bit. The whole thing is primed, ready to go. There’s just maybe sort of one little sticking point left, and I think that’s being cleared up as we speak, so it shouldn’t be too long. But, you know, you’ve got to get these things right. ... So it’s down to the fine-tuning, but I’m pretty sure it’ll be happening next year, 2008.”

Q: What’s next for you, musically?

McCartney: “I’m actually doing some recording with my son (James). We’re just looking at the idea of him making an album. He’s doing it all. He’s writing it all ... It’s sensational. But there’s nothing set yet. ... The plan is for me to just do some recording with him, and it’s really exciting. I’m really loving it.”

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