'All Things Must Pass' and 'Plastic Ono Band' are the best of the post-Beatles albums because they demonstrate the opposing modes in the ways we exist.

It's from my Beatles: The Dream is Over, Off the record 2 by Keith Badman. It's from Wednesday, Feb. 10th. 1988 and George was being interviewed on the live American radio show "Rockline" hosted by Bob Coburn:

QUESTION: In the HandMade film "Five Corners," they were going to use "In My Life" by the Beatles in the credits and you tried to prevent it. What was the reasoning behind that?

GORGE: I feel we've been ripped off so much that the last thing I want to do is find that HandMade Films is ripping us off, too, if that's the way it is. But there is a situation in movies where you pay a synch license to get the rights to a tune and you can put in on the film. The director thought it fitted the film and actually it does, in a way. Just like Bob Dylan singing "The Times They Are a Changing....." There's another Hand Made film, which will be out shortly. It is by a quite well-known director, who is a bit of a loony. It's a film called "Track 29," by Nicholas Roeg... For me, I have a bit of a problem, where the director comes to me and they say, "Okay, we want to use John Lennon's 'Mother'" And in that particular time in my life (1970), I was in one room singing "My Sweet Lord," and John was in another room, in Abbey Road, singing "I don't believe in Jesus, I don't believe in nothing." He went through that situation with Primal Scream which was really not the best thing I would recommend for anything. It was in the point in time where we were totally the extreme to each other and that song reminds me of that. I didn't really want it to be in the film. I tried to talk the director out of it but if you're making the movie, it's no point getting a director and then telling him he can't do what he thinks he should be doing. So I find myself in a bit of a bind, but having seen it on the film, it's such a short piece anyway. All it does is set up the scene for this situation where a boy comes back looking for his mother who left him years ago. It works in context but I also have the situation where I have to talk to Paul and Ringo and Yoko, and the last thing I want to do is appear to be using The Beatles or my past or anything. But, at the same time, there is "Ferris Beuller's Day Off" and they've got The Beatles with "Twist and Shout." You have the right to get the synch license.

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