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C’est le 13 Avril 2004 qu’a été commercialisé aux Etats unis, le DVD “PAUL McCartney : THE MUSIC AND ANIMATION COLLECTION”.

Ce DVD, auquel paul McCartney s’est associé présente au public divers dessins animés chers au coeur de l’ex-Beatles, en version remasterisée et restaurée.

Le dessins animés sont les suivants :

  • “Tropic Island Hum”
  • “Tuesday,”
  • “Rupert And The Frog Song.”


Miramax Home Entertainment proudly presents the release of PAUL McCartney : THE MUSIC AND ANIMATION COLLECTION, set to be available for the first time ever on DVD, on April 13th. This special DVD includes three classic children’s stories magically brought to life through classic animation and the original music of Paul McCartney. Presented in collectible packaging and loaded with bonus features, including an exclusive interview with Paul as Well as never-before-seen footage taken from behind the scenes, this musical collection of enchanting animated tales will provide hours of enjoyment for the entire family, and is a must-have for Paul McCartney fans of all ages.

PAUL McCartney : THE MUSIC AND ANIMATION COLLECTION includes three magical, animated tales produced by Paul McCartney : “Tropic Island Hum,” “Tuesday,” and “Rupert And The Frog Song.” This collector’s item edition is loaded with original songs (including the award-winning song “We All Stand Together”) and music from Paul. Available on April 13, 2004.


Bonus DVD Materials

  • Exclusive Interview – Paul McCartney Talks About The Animation Collection
  • The Making of “Tropic Island Hum”
  • “Tropical Island Hum” Layouts and Storyboards
  • The Making of “Tuesday”
  • “Tuesday” Line Test and Storyboards
  • “Rupert And The Frog Song” Line Tests


Miramax Expands Family Home Entertainment Library With Three Animated Stories Produced by Legendary Musician Paul McCartney

Tropic Island Hum, Tuesday and Rupert and The Frog Song To be Released on DVD and Video Spring 2004

NEW YORK, Dec. 3 /PRNewswire/— Miramax co-chairman Harvey Weinstein announced today that the Company has acquired a trio of classic animated stories produced by musical legend Sir Paul McCartney. « Tropic Island Hum, » « Tuesday » and “Rupert & The Frog Song” are scheduled to be released on DVD and video in Spring 2004. McCartney and Weinstein most recently collaborated on “The Concert for New York City,” which raised $35 million for the victims of 9/11.

McCartney worked with long-time collaborator Geoff Dunbar to create additional special effects in order to enhance the animation. In addition, newly recorded live-action footage — featuring McCartney himself — will be included.

“While the world knows Paul as a creative, musical genius, he is also a master of animation and I’m thrilled to be working with him again,« said Weinstein. »In keeping with the great Disney tradition, these three titles are breathtaking and will be a real treat for families to watch together.”

“I’ve loved animation since I was a little kid and I’m proud that Harvey and Miramax are handling the release of these three little gems,” said McCartney.

Jeff Tahler, vice president of acquisitions, is overseeing the project for Miramax in New York and Colin Vaines, executive vice president of European production and development, is handling the project for Miramax in the UK. Stuart Ford, executive vice president and co-head of Miramax International, negotiated the agreement on behalf of the Company. Lee Eastman of Eastman & Eastman negotiated the agreement on behalf of McCartney.


TWENTY YEARS after his best-selling Rupert And The Frog Song animation, Paul McCartney is to release an enchanting follow-up film for a new generation of children.

Paul has teamed up with Miramax to release for the first time on DVD a collection packed with his acclaimed animations and introducing a new and endearing cast of all-animal characters in the short film “Tropic Island Hum”.

The family package DVD – “Paul McCartney : The Music and Animation Collection” (The MAC) – is the culmination of Paul’s lifelong love of animation, which grew out of his childhood love of classic Disney characters. It will be released in the UK on April 19th. Besides featuring “Tropic Island Hum”, The MAC will also include the BAFTA award-winning “Rupert And The Frog Song” and “Tuesday”, a surreal story of an invasion of Flying frogs.

“Tropic Island Hum” is set to be another children’s fantasy favourite from Paul McCartney ; this time the action follows Wirral, a squirrel with a Liverpool accent, who flees from huntsmen in a balloon that takes him to a tropical island sanctuary populated only by animals and where he falls in love with a shapely squirrel, Wilhelmina.

Like “Rupert And The Frog Song”, which featured the UK No.3 hit single “We All Stand Together”, “Tropic Island Hum” features an infectiously-catchy children’s song written by Paul McCartney.

“Tuesday” is an imagination-stirring animation based on the book by David Wiesner that tells the bewitching tale of how frogs floating on lily pads take a twilight flight into a small town somewhere in America.

Paul McCartney has actively followed his keen interest in the magic of animation since the Eighties. His first release, “Rupert And The Frog Song” won a BAFTA for best animated short film and became the biggest-selling video of the year after its release in 1984.

“Rupert And The Frog Song” was directed by Geoff Dunbar, who has also directed the new “Tropic Island Hum” and “Tuesday”. Geoff Dunbar and Paul McCartney have achieved a successful animation partnership since they began working together in the early Eighties. Besides the BAFTA for ‘Rupert’, they won another BAFTA in 1992 for an animated film on the work of French artist Honore Daumier and were nominated for a third two years ago for “Tuesday”.

Miramax co-chairman Harvey Weinstein praised Paul McCartney as “a master of animation” and said The MAC shared the standards and values of Disney’s acclaimed heritage.

He added : “In keeping with the great Disney tradition, these three titles are breathtaking and will be a real treat for families to watch together”.

Paul McCartney first fell in love with animation when he was a boy in Liverpool ; later, as a father, he would read Rupert stories to his children when they were young. He said : “In animation it’s good to have a bit of a childlike quality About Yourself and I certainly have, it’s just Something that’s in me.

“I’m still fascinated by things that fascinated me as a kid ; the passion for adventure, humour or romance. Sometimes people grow out of them, or they sort of force themselves out of them. But I’ve been lucky ; Because I’ve been involved in music I’ve not had to lose those qualities.

“There’s a childlike quality to the art of animation and, married with a bit of music, it seemed the perfect way to bring these magical stories to life”.

The MAC DVD is a packed disc ; besides the three films it will include an exclusive interview in which Paul McCartney explains his passion for animation. The 5.1 Surround Sound DVD will also include bonus features on the making of “Tuesday” and “Tropic Island Hum”, line tests of “Rupert And The Frog Song” and “Tuesday” and storyboards



  • “Tropic Island Hum”
  •  “Tuesday”
  • “Rupert And The Frog Song.”

(à noter la présence de la chanson « We All Stand together » de Paul McCartney)


  • Interview exclusive de Paul McCartney
  • Le making of de “Tropic Island Hum”
  • la Making of de « Tuesday »


  • Durée : 43 minues
  • Affichage 1.85.1 pour écrans 16 X 9
  • Son : dolby Digital 5.1
  • Sous-titrage disponible en Espagnol.


Dans le cadre de la promotion de son DVD “Paul McCarteny : The Music and Animation”, l’ex-Beatles, instigateur du projet, accordait un chat exclusif sur MSN durant lequel il s’est entretenu directement avec les internautes sur cette publication.

Yellow-sub.net vous propose donc la retranscription intégrale de ce chat qui c’est tenu le 12 Avril 2004, alors que Paul était à Los Angeles.

DishDiva says : Paul, welcome back to MSN Live. It’s great to have you back !

Paul_McCartney_Live says :Thank you Dish Diva, and to the rest of the wonderful galaxy, cyberspace people. Hi folks, greetings from sunny California.

DishDiva says : We have quite a few soldiers Here Today who wanted to say hello !

Paul_McCartney_Live says : Hey guys and gals, I hope things are going Well for you. Keep strong and keep your spirits up. Above all, don’t drink any alcohol in the evenings. My very best wishes to all of you.

DishDiva says : We have so many questions so let’s get started !

Lill_McGill in Onstage_1 asks : Paul, as a Mother I’d like to personally THANK YOU for providing such artistically beautiful animated films both in content and music, going back to Yellow Sub ! Do you find animation challenging as opposed To Your painting ?

Paul_McCartney_Live says :Hello Lill, I love doing animation, it’s a lot of fun to do Because you can tap into your childlike qualities, which I try not to lose. I’m working with my friend Geoff Dunbar who directed these three pieces. He’s a lot of fun, we just sit around and enjoy our imagination. He draws the characters and I Do the music and voices. The whole experience is very enjoyable. It’s Something I would almost pay him to let me do. In The End you see Something that children and adults alike can sit down together and enjoy and watch. It’s a great pay off for me.

Tori_in_Texas_USA in Onstage_1 asks : Hi Paul ! My son & I are looking forward to the new Animation DVD. Besides your music and paintings, I’ve seen your doodles/drawings in a McCartney songbook. You have a unique and fun style. Will you publish more or consider doing an animated piece ?

Paul_McCartney_Live says :Yeah, this collection of music and animation collection we are using now is Something we’ve done over the last few years, Tori. We should as a platform from which to launch a One time ambition which is a feature film. So as we speak, we’re working on the script to the story for a full length animation film. Which will feature the squirrel and the tropical island, from the new DVD, his Girlfriend Wilhemina and the amphibian friend Froggo to Wirral.

Popper816 in Onstage_1 asks : Hi from Philly, Paul ! I saw you 2 times on your last US tour and they were the best shows I’ve ever been to ! Thank you ! I was just wondering how you came up with the plot ideas for these animated stories.

Paul_McCartney_Live says : The plot for the animation, Popper, arrived in various ways. The first One we did was « Rupert and the Frog Song » which came from an illustration in a children’s book where there was a Frog’s choir and orcchestra singing in celebration. So I asked myself, : “What might they be singing ?” and what would the music sound. This was a fun project and George Martin Dreaming up the orchestration which became the Frog Song. The plot developed from the idea that we would show the frog’s celebration and add a couple of dramatic touches. So that was that. Tuesday, the plot for « Tuesday » arrived straight from a prize winning book by David Wiesburg called « Tuesday » and laid out the plot which we stuck to quite faithfully. Finally the plot for « Tropic Island Hum » came from the idea of a celebration song on the tropic island after Wirral and Froggo had escaped from some hunters in the forest.

JulieLondonGirl in Onstage_1 asks : Paul, I wonder, what brings you the most fun these days, recording or working with animation ? Cheers from Brazil !

Paul_McCartney_Live says :Well hi everyone in Brazil ! And thanks for the question Julie. This is the wonderful world of technology speaking directly to Brazil. The answer is I love it all and every aspect of what I Do involves it’s own challenges and the fact that there’s quite a big variety of work between recording, animation, touring live, painting, etc. It keeps it fresh so I Don’t have a favorite pursuit, I love them all equally. At the moment my pet Love Is the new animation release, at your friendly neighborhood stores. (plug, plug, commerical, commerical) (laughs)

Gayle_Dolinger in Onstage_1 asks : Does this coincide with the children’s books you’re writing ?

Paul_McCartney_Live says : Hi Gayle, what the children’s book is about, as I said before we always wanted to make an animation feature film, so we might use shorts and « Tropic Island Hum » who features Wirral the squirrel is the One we are developing into a feature film. So in order to get ourselves a strong story line, Geoff and I wrote it up as a children’s book and Geoff illustrated it. Then we got a children’s book writer to help us with the flow of the story. We spoke to a children’s book publisher in England and she, Susie Jendy of Faber and Faber, decided she wanted to do it as a book. So that will come out next year.

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LauraED1 in Onstage_1 asks : Paul, I know Tropic Island Hum was done years ago, and I Remember reading somewhere that Linda was involved with it. What was her involvment ?

Paul_McCartney_Live says :Linda actually was involved in « Tropic Island Hum. » Partially in helping with the story and characters and she is the speaking of Wirral’s Girlfriend, Wilhemina saying « Welcome to our island. »

LaceyFox1 in Onstage_1 asks : Paul, my children and I love you, and hello from Florida !! Which type of creature would you choose to best represent yourself if Paul McCartney were a critter ? I guess I’m a Fox, since that is my last name (kinda clever too, if I may comliment meself).

Paul_McCartney_Live says :Hi Lacey, thanks for your question. I Don’t know, I might see myself as some great hunky gorilla but then again, I might be a squirrel like Wirral. Considering my obvious obessession with frogs, I may turn out like Froggo. Personally I favor the hunky gorilla.

gabi_prettyflower in Onstage_1 asks : There are a many frogs in the films – is that some kind of tribute to them Because of what you did to them as a teenager ? Gabi(*fromVienna*)

Paul_McCartney_Live says :No, but that’s a very good question, Gabi. That’s refering to when I was a kid and I Remember thinking as I would have to go into the arm my cruelty to frogs seemed justified as a practice for the Royal Army. Obviously now this is Something I regret and who knows, I may be trying to make it up to the little dears by putting them in every single One of these films. I love them now and I apologize to the children of the One’s I abused as a kid. Secret revelations of a frog molester. (laughs)

DishDiva says : As a father do you hope to do more work in animation and even for children ?

Paul_McCartney_Live says : Yes, it’s Something I love. There’s nothing more fun than sitting down with young people and sharing the joy of an animation piece together. It seems to bring generations together and for me, it reminds me of the innocence and simple joy of it all. That we had as children and they show us now.

Hoffner1 in Onstage_1 asks : Hi Paul, what instrumentation did you play on the soundtrack of the new dvd ?besides the vocals…thanks for all the years of great music Ralph Los Angeles

Paul_McCartney_Live says :Hey Ralph, good to speak with you. I think the maximum I did besides the voices was a little guitar work. The pieces were mainly orchestral and arrangements played by musicians other than myself. George Martin was involved in « The Frog Song » and « Tropic Island Hum » and did a fantastic job so there was very little for me to add besides writing the piece and working on the orchestration with him. And Jonathan Tunik did the arrangement for « Tuesday » and that didn’t require anything from me since I haven’t learned to play the fiddle yet.

thayerhouse in Onstage_1 asks : Paul, I’ll be a first time grandmother in July. Anychance you’ll write lullabys for the new generation ?

Paul_McCartney_Live says : I think in these animation pieces there are tunes that seem to appeal to little kids and older kids alike. So hopefully you’ll be able to lull your grandchild to sleep with the soundtrack from any of these films.  On the other hand, it might keep them wide awake and asking for more, in which case, that’s your problem and I sympothizegreatly. Congratulations Anyway, Thayer.

GuitarKat in Onstage_1 asks : Paul, do you feel that this animation collection is nostalgic from your childhood ?

Paul_McCartney_Live says :I think to some degree it is Because I always loved Walt Disney and his work as I was growing up. And it is a large inspiration for the current release. Interestingly, it was also into reminding people to not be cruel to animals and to love them as our friends which again is Something that appeals to me greatly. So I think yes, this all started when I was very little watching the fantastic work of Disney and we hope that with the new collection on the DVD we can live up to the standards he set way back says :

jlhawaii in Onstage_1 asks : Is love still the answer ? Texas, U.S.A.

Paul_McCartney_Live says :Yep, JlHawaii, Love Is still the answer and will always be. I hope in the future there is my songs and music and animation projects. This is The Message we will always be trying to put over. Thanks for the question, All The Best.

DishDiva says : Paul, thank you for joining your fans on MSN around the world to talk About Your new project “Pal McCartney : The Music and Animation Collection.”

Paul_McCartney_Live says :I want to thank everyone for tuning in and logging on. This is always an exciting thing for me to do. The idea that we all Come Together from around the world and can chat so easily in this way is Something I find exciting. I send everyone My Love and I hope you have a Great Day and any of you who manage to get ahold of the « Music and Animation » collection will enjoy watching it as much as we enjoyed putting it together. Lots of love, Paul.


A l’occasion de la publication du DVD “Paul McCartney – The Music and Animation collection”, Jorie Garcen (web-mistress du site McCa Repport, site partenaire de Yellow-sub.net) a eu la chance d’interviewer Geoff Dumbar, qui a aidé Paul McCartney dans la concrétisation de cette trilogie de dessins animés.

Jorie Gracen : Paul McCartney has expressed his love of Disney classic animations, which inspired him to create his own animations. Did anyone from Disney ever approach Paul regarding a possible musical collaboration for an animation or an animation project ? Did Paul ever approach Disney ?

Geoff Dunbar : Not that I know of Jorie. I met Paul probably as you know back in the early ’80s. As far as I know there’s been no connection in that way. Very possibly they may have approached him. I think it’s a very big possibility, Because of course his music is so fabulous, it would lend itself to a larger production.

Jorie : Would Paul consider a collaboration with Disney or has he decided to build his own animation empire on the level of Disney or Pixar ?

Geoff : Well, it’s always been a great Dream of Paul’s and mine and ours together to make a film that would be on a par with those productions. Although in our own way with our own kind of signatures, it would have our identity. But to build an empire I’m not sure that’s the desire. To enjoy the films and to make the films and To You know, use the music, which is so wonderful is really the Dream I think.

Jorie : When you put together the « Music and Animation Collection » there were several animations that were left out like « Daumier’s Law, » « Seaside Woman » and “Oriental Nightfish,” the last two of course created by Oscar Grillo. Was there a reason Why « Tuesday, » “Tropic Island Hum« and »Rupert and the Frog Song” were selected for the collection ?

Geoff : I think it was just a nice feeling of balance really that, you know. It was the work that Paul and I had done together. Oscar Grillo worked with Linda McCartney if you Remember, and I always woed with Paul. There was no kind of reason to that. It’s just how things worked out. In the future they may come out. I haven’t heard this, but it seems it maybe quite a natural progression. « Daumier’s Law » (1992) is another One that Paul and I did together and again we feel very proud of that. It was very Well decorated (awarded) and that possibly would be seen fairly soon I hope.

Jorie : I know it was shown in England on TV.

Geoff : Yes and it won a British Academy Award (BAFTA) and was the Director’s Choice at the Cannes Festival. We enjoyed some success with it and also quite a lot of exposure here in the UK. But as I say Linda worked with Oscar, that much I know. Paul and I had our kind of thing going Anyway.

Jorie : Was the DVD put together more or less for children ?

Geoff : It was the subject matter I think Jorie, Because it started with the desire to make « Rupert the Bear, » … a long time ago, which was Paul’s and my self’s kind of childhood character you know. So it was a very lovely thing to be able to work with Paul to bring this character to life. Predominantly, it’s for children, but of course it’s lasted for so long. I mean it was created in the 1920’s and I think it has of course a great adult following in this country (UK) ; Rupert Appreciation Societies, etc., Rupert collectors. The old Rupert books go for quite a lot of money these days. So I think leading from that, it’s never been a clear kind of vein to produce only for children, but to do it in our way. I think they lend themselves very Well to children. I hope so anyway Because they are our most critical audience in many ways. No it’s really a family view really.

Jorie : A couple of my friends showed their children the DVD and their kid’s favorite was « Tropic Island Hum. »

Geoff : Oh Wonderful !

Jorie : And the adults love « Tuesday. »

Geoff : Yes, (Laughs)

Jorie : My favorite part of « Tuesday » is the turtle swimming in the water. It’s so lifelike.

Geoff : It’s a lovely sequence that. I like that film a lot but Remember David Wiesner, who did the book deserves a lot of credit there for his original concept.

Jorie : You were very faithful.

Geoff : Yes indeed. Well I’m part of that again you know. It’s David’s book and he deserves that treatment. People like it…

Jorie : It’s a great story.

Geoff : Wonderful, wonderful…strange evening somewhere.

Jorie : When pigs fly.

Geoff : (laughs) That’s right. Exactly.

Jorie : Can you tell me what happened to the full-length Rupert feature film ? Music was written for it and work was done on it in the late ’80s. Apparently it got put on the shelf. Does Paul have any intention of finishing the film ?

Geoff : Not that I can say really. Originally, “Rupert and the Frog Song” was a pilot. It wasn’t really going to be released. It was just a pilot to explore the possibilities for a feature film. The view was, it turned out rather Well and then maybe Something to be done there. So it was released as a research project and was very successful here.As to reach feature, I don’t think so. I Don’t know Why it was never made. It seemed to be some contractual problem. I think that was problem. Paul and I were very, very keen to go ahead with that. We were talking about it very, very seriously and then Something happened, which seems to be a bit of a mystery, which prevented us from doing that. It seemed to be poor old Rupert, who was I Don’t know, sold to somebody else in most a peculiar way. So I Don’t know if they were trying to capitalize on the situation, but it was not possible for us to proceed, , which is very, very sad in retrospect. Nevertheless, now of course we have Wirral and Wilhemina and Chief Bison and Froggo, which are very engaging characters and I think that’s probably where we would be headed.

Jorie : Is that feature length film going to be based on the children’s book « High in the Clouds ? »

Geoff : That’s a very, very strong possibility.

Jorie : I guess Wirral is going to be the next Bug’s Bunny !

Geoff : (laughs) Well if he could be as wonderful and as engaging as Bug’s Bunny we would be very, very happy people I’m sure.

Jorie : I think so. Why not ?

Geoff : He could be…

Jorie : Mickey Mouse !

Geoff : The next Mickey, the next bug, the next…

Jorie : Rodent !

Geoff : (laughs) Yeah, whatever it is. I know what you mean. Yes it’s a great possibility and a very exciting thought.

Jorie : Is working with a great visionary like Paul difficult Because his ideas may be very demanding and unrealistic to the animation process ?

Geoff : Occasionally this happens. Maybe it’s not possible so we discuss it and it is resolved. But you are absolutely right, he is a great visionary. Our working relationship has developed over the years and I’d like to think we have a good understanding. Sometimes of course, yes it maybe so, but it’s not unresolvable. And he, as I said before, is a true professional. He has no problems with taking the right path. He has a great gift for that. He chooses the right path more often than not. I’m impressed by that.

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Jorie : Did you have any unexpected challenges during the making of these animations related to Paul’s creative input ?

Geoff : Occasionally, not totally, what comes to mind…but you know…occasionally yes there were One or two testing times, which would take a little longer or we’d have to redo a few times. Paul is a perfectionist. I’m a perfectionist. So in the general working process yes, there were occasions when it was extremely difficult. But as I say we overcome it in the end. Part of the process.

Jorie : Did you ever say to Paul that Something was totally impossible ?

Geoff : (laughs hysterically)

Jorie : What was his reaction to that ?

Geoff : Well, yes. I mean yeah, if it wasn’t right. I’d say “Hey listen. I’m not sure this is right.” And Paul would kind of look and you know, raise his eyes up and say, « I can take your point of view, yeah. » If he really believed in it he would say, “Listen, I want you to try it.” So that would be put through the process, but it would balance out and everyone would be happy.

Jorie : Did Paul provide his own cartoon sketches of characters during the development process ?

Geoff : No, not so much the characters, but certainly some of the plots. Paul is very misty with the pencil and he’s a great doodler and he would draw and give me his ideas you know, but more in the sense of scene design and story layout rather than character design. I would do the character design and present them to him.


Jorie : You actually created the characters ?

Geoff : Yes I designed them. Paul would say, “Listen, I’ve got an idea for a squirrel called Wirral.” And then I would put characters, I mean, quite a lot. And then Paul would take the kind of selection and say, “Hey, maybe we need these trousers a bit like this ?” I mean that would be the way it would go.

Jorie : Baggier trousers, right ?

Geoff : (laughs) Baggier ! Exactly ! Exactly it !

Jorie : Paul can be expressive on a comedic level. Did you see a side of Paul you never saw before ? Was there a particular funny moment you can describe during the making of any of the animations ?

Geoff : Well generally all the time, you know. There was a sense of fun around the productions. And sometimes we would laugh quite hysterically at things we were doing. I can’t actually think of One that I could my finger on right now, but I can Remember laughing a lot.

Jorie : Did he actually become the character he acted out ?

Geoff : Yes ! (laughing) Lots of times. It’s very difficult Because you’d have to be there to appreciate the comedic strength of Paul, you know. Quite often he would get up and read and act how he would see Wirral or Froggo or Chief Bison deliver his lines or his actions, which of course could become hysterically funny. But as I say, you would have to (laughs) be there.

Jorie : Why wasn’t that filmed ?

Geoff : Hahahaha ! (laughing)

Jorie : Paul acting out the character and the character doing the same thing he’s doing.

Geoff : Well quite often they are.

Jorie : It could be the bloopers !

Geoff : Yes (laughing hysterically) I didn’t select those tapes Jorie. You’ll have to take to my word for it.

Jorie : Next time get somebody in there to film that !

Geoff : (laughing) I’ll get somebody in the archives to have a look.

Jorie : Have the character mimic whatever he’s doing. That would be hysterical.

Geoff : (laughing) That would be wonderful wouldn’t it ?

Jorie : I wanted to ask you about Linda McCartney. How much input did she have in these animations ? It was her music that inspired some of the first award winning animations like « Seaside Woman » and « Oriental Nightfish. » Do you think she was the driving force behind Paul to create animations for their music ? Or was it Paul’s idea ?

Geoff : I knew Linda and she was very much a part of our team when we started making these films. I have the idea it was Paul’s idea to start. I’m not sure about “Seaside Woman« but certainly with »Rupert« and »Tropic« and »Tuesday.” They were Paul’s Because Linda was doing the work with Oscar. I would have to say Linda was very much part of the team in the early days. When we started making « Rupert » all our meetings were the three of us. When I would go to their home in Sussex … we would sit and have meetings and develop the story line and I have to say they were very happy days. And then onto “Tropic Island« yes, she was very much part of that. And »Tuesday” was in the process when the great sadness came. It’s a bit difficult there. In a way that’s the reason Why there was a delay in the release of these films.

Jorie : I always thought « Tropic Island Hum » was done last, but it was « Tuesday.

Geoff : « Tuesday » was last. Yeah, ’cause « Tropic Island » we were in the middle of making and were halfway through when Linda was diagnosed with breast cancer and then we pressed on through it. And as you can appreciate… these were very Hard Times for everyone connected with the family and everybody who makes up the extended family you know. She was a great presence and a great creative lady as you know. So I always had plenty of good comments and she was a great mediator as Well.

Jorie : Was the story line for « Tropic » her idea ?

Geoff : That may have been so. I couldn’t say. My meetings were primarily with Paul on that movie Because Linda was busy with other projects. But that may have been so, but I’m not privy to what their discussion might have been when I wasn’t there. It was certainly Something that was very dear to her heart, so it’s quite possible.

Jorie : “Tropic Island Hum” used the hand-drawn process of animation with new computer technology. Does the computer make things easier for animators and can some of the same qualities inherent from hand-drawn animations be implemented on computer ? Paul said Something in the DVD about how the hand-drawn process can’t be done Well on the computer.

Geoff : That’s a difficult One for me. When « Tropic Island » started, computers were beginning to get quite sophisticated. But we still couldn’t get the look that we wanted. Our aim was to make a film that was an homage to the great animators of the ’40s and ’50s. You know, the great American animators. We’d done Daumier, we’d done Rupert, which was based on an English artist and we wanted just to see how possible that was. So we really had to go with the hand-drawn techniques. We love it for that. And we’re proud of it for that. But when we came to « Tuesday » computers were very sophisticated. So we used the computer to enhance our look and we’re very happy with it. Computers do give us—how can I put it ?—production muscle if you like, Because we can enlarge and reduce characters as we wish. We can repeat them, we can place them in different places, so it is a tremendous bonus. But I think what Paul was meaning was, that it’s very, very sad if we have to lose the look of the great movies Because they are truly great. I still adore the three great Disney movies, which I think are « Snow White, » « Pinocchio » and « Bambi. » There are others that come after, which are sensationally good but those three seem to have a special quality. I think it’s a great shame that people should lose that. I think audiences are still able to enjoy it and to appreciate what it is and not only be offered CGI (Common Gateway Interface). I think that’s sad. And I adore CGI. I adore the Pixar movies and the Disney movies and « Shrek. » I like « Shrek » very much and « Ice Age » I think is an extremely good movie. It’s a shame that audiences are deprived of the passion of handcrafted work.

Jorie : I think audiences are excited over new technology and see handcrafted animation as outdated. I’m an artist and I personally love the hand-drawn stuff.

Geoff : Exactly. Jorie it would be like someone saying To You, “Listen Jorie you can’t do oil paintings or watercolors anymore.” That’s ridiculous, you know. What the heck ! I believe that drawing is still a great scope for free art. How many great animators have been prior to CGI ? With CGI it’s very difficult to separate studios Because you could actually say “that film was made by that studio, and that film was made by that studio,” and you couldn’t tell the difference really could you ? You know what I’m trying to say ? But you could certainly say the drawings of John Hubley are vastly different from the drawings of Chuck Jones or the drawings of Chuck Jones are vastly different from the drawings of Walter Lantz or Tex Avery. There’s a sort of individuality to them, which I believe is terribly important. And of course the great films of Walt Disney. It’s pretty interesting to think that when Walt’s hand was not on the movies they lacked that little je ne sais quoi, you know. It’s amazing really.

Jorie : Is it a style or signature of the artist that you think is missing in computerized work ? Is it more artificial ?

Geoff : Yeah, Exactly ! As I say, I’d actually like to think of them, or I’d not like to, but I think of them when I see them more as digital marionettes. This isn’t sort of animation pictured in an explosive way or in a motion way, this is more like Puppeteering in a way. And very beautiful it is and very Well studied, but it doesn’t have that… Something… it’s different isn’t it to drawn stuff ? But as I say it’s staggeringly, pretty impressive, and I think you may have a point there, people warm to it Because it’s new. I think over a period of time, when things start to happen… redevelop and animators regroup, there’s going to be a great return to drawn stuff. I’m not so sure in the major entertainment industry but certainly in the expressive and artistic side of things.

Jorie : Wasn’t “Yellow Submarine” ahead of its time ?

Geoff : Yes, Well « Yellow Submarine » is to me is a very individual One-off project. I think of course the music is just so totally brilliant and totally awesome you know. But I think for the film as a film, it owes an enormous amount of the total genius of Heinz Edelmann, who brought those extraordinary designs, which have never been recreated really. It’s very difficult to do anything in that area without conjuring up thoughts of the « Yellow Submarine. » It’s a total imprint you know. And as I say it’s great. To have had that music and those designs I think it’s a great thing. The animation to me is very simplistic. I suppose it led out of that psychedelic era. There was an American artist, really wonderful, named Peter Max… who was very similar… long-legged characters with you know, flowery kind of costumes and things.

Jorie : Will people viewing the DVD on computer find ’easter eggs’ hidden in the program ?

Geoff : You have to find them ?… little puzzles ? There’s nothing that I would be able to say that would make that happen.

Jorie : Like Wirral would pop-up and say « hi ! »

Geoff : (laughs) I not aware of that I have to say. There’s One or two little visual things that are kind of pretty easy to pick up. I won’t say what they are.

Jorie : Do you devote all your time now to McCartney projects or do you still work with other people or on your own projects ?

Geoff : I’m at the present time Jorie, working on a theatrical production, which is to animate the movie animals in (Camille) Saint-Saens « Carnival of the Animals » that will appear behind a live orchestra. That’s what I’m busy with at the present time, which I’m very, very excited about.

Jorie : I’ll look forward to that.

Geoff : Well I hope it will come over To Your… LA or whatever you know. It’s in the very early stages but we just have an idea that this will be a very exciting thing.And also my talks and meetings continue with Paul of course.


A l’occasion de la publication du DVD “Music and Animation Collection”, paul McCartney a publié un single en édition limité contenant les chansons suivantes :

  • « We All Stand together »
  •  « Tropic Island Hum ».



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