Paul: "...when we did Magical Mystery Tour, for instance, I ended up kind of directing it, even though we said, well, the Beatles had directed it at the end. Just 'cause I was there most of the time and all the late night chats with the cameramen a bout what we were going to do tomorrow would tend to be me more than the others..."   George: "It was Paul's idea. It was basically a Schauerbang trip which people used to go on from Liverpool to see the Blackpool lights. And they'd get, you know, loads of crates of beer and an accordian player and all get pissed, basically, pissed in the English sense meaning drunk, and you just go to see Blackpool lights. And it was kind of like that, it was a very flimsy kind of thing..."   John: "...and he came and showed me what his idea was, and this is how it went around like this, the story, and it had all, I think, production, and he said here's a segment, you write a little piece for that..."   Ringo: "In my brain it was Paul's idea. He came with a piece of paper. It was just a great way we used to work."   Paul: "I'm not sure, uh, it could've been mine, I'm not sure whether I wanna (laughs) take the blame for it, you know. Umm, we were all in on it, but alot of that stuff at that time could've been my ideas 'cause I was coming up with alot of , sort of concepts, like, you know, Sgt. Pepper, we could pretend to not be... and I'm not saying it was my album, obviously we all worked on all the stuff, but I was coming up with a lot of ideas."   Ringo: "Now I remember Paul saying, you know, 'cause to get the actors we looked through that actors book, the Spotlight or whatever, uh 'we need someone like that and someone like that,' and we needed the large lady as my auntie 'cause I was gonna play this person with this auntie.."   Paul: "We knew we weren't doing a regular film. We were doing a crazy, rolly polly sixties film, where I am the walrus and you are the...and I just wandered off to France and did that 'Fool on the Hill' stuff just one morning with a couple of mates, you know, it wasn't quite union.."   George: "I remember quite a bit of it, really, in the big hangar down in Kent. We were driving around this air field in the Mini Cooper, your mother should know. That was quite interesting, I quite enjoyed that...But, you see, there was alywas good songs, there's a couple of good songs and there was a few funny scenes. I mean, the scene that to me that stands out is the one of John shoveling the spaghetti on the fat woman's plate. I mean, that was the best bit of the movie for me."   Paul: "That was an actual dream he'd had. And so he'd come in and said, 'Hey, I had this wild dream last night, I'd like to do it. I'm a waiter...' you know, so we just put them in, you know, and it was very haphazard. You know, looking back on it, it's how you learn kind of thing, by your mistakes...but I think, you know, in the end it came out, I think it's quite interesting now, looking back on it as a period piece. And people like Spielberg, I've read that people like him have sort of said, 'W hen I was in school that was a film we really took notice of...' like an art film, you know, rather than a proper film. But of course, we then released it and got it shown on the BBC on Boxing Day."   Ringo: "...and of course they showed it in black and white and so it was hated. Now they all had their chance then to say, 'They've gone too far! Who do they think they are?! What does it all mean?' So that was really slated, but of course, when p eople started seeing it in color, they realised that it was alot of fun. Especially that arial ballet shot. You know, we went all over Iceland and sent a guy out filming."   Paul: "I think we thought it was okay. I mean, looking back on it, I think we were quite pleased with it. At the time, it was alright, you know, it wasn't the greatest thing we'd ever done. I defend it on the lines that nowhere else do you see a pe rformance of 'I am the Walrus.' That's the only performance ever. So things like that, I think, are enough to make it an interesting film."