beatles

Last year, studios and Hollywood labor unions lobbied hard to ensure animated movies and shows could compete for California’s expanded film and television tax credit program.

The payoff came last week, when three animated movies were among the nearly 40 film projects that received a production incentive in the latest round of awards, the California Film Commission announced Thursday.

Walt Disney Co.-owned 20th Century Studios received $21.9 million for “The Simpsons Movie 2,” Disney Entertainment Television got $3.5 million for “Phineas and Ferb” and DreamWorks Animation was awarded $24.7 million in credit allocation for a yet-untitled animated film.

The three are the first animated feature films to receive tax credits from the state of California. (Last month, two animated shows — a spin-off of “Rick and Morty” and “Stewie,” which branches off from the “Family Guy” cartoon — also received tax credits.)

I spoke with DreamWorks Animation Chief Operating Officer Randy Lake about the award, which he called a “potential game changer” for the Glendale-based studio known for the “Shrek” and “Kung Fu Panda” franchises.

“Unlike live-action, our projects are years long,” he said. “You’re talking about not just a job for six or nine months on set. It’s literally three or four years that these projects can take. It’s long-term employment.”

Like most of Hollywood, the animation industry has suffered from the effects of the 2023 dual writers’ and actors’ strikes, as well as the retrenchment in studio spending after the initial rush to invest in content for streaming services.

And like much of U.S. film and TV work — particularly in California — the animation business has been deeply affected by the increasingly rich tax credits offered by other countries.

Over the last 15 years, countries including Canada and Ireland have slowly built up animation hubs, aided by their local talent and lucrative production incentives specific to animation and visual effects.

For instance, visual effects and computer animation unit Sony Pictures Imageworks, which Lake ran for years, relocated its Culver City headquarters to Vancouver more than a decade ago.

DreamWorks, too, has outsourced work to partner studios, particularly in Vancouver and Montreal, as costs in the U.S. have increased and studios face pressure to rein in their production expenses while theatrical box-office revenue has become less reliable.

Just three years ago, DreamWorks cut about 70 jobs across its corporate functions, feature films, TV and technology departments. In 2024, Disney-owned computer animation studio Pixar laid off about 175 employees as it pulled back on its production of streaming series.

But with the recent tax credit allocation, DreamWorks will hire about 100 people in California for its upcoming untitled film. Those jobs would probably would have been outsourced to a third-party studio, Lake said. Keeping all of the jobs on that film in California helps improve collaboration among the teams and foster more creativity, he said. Today, DreamWorks has about 1,000 employees.

To understand why the new incentives are meaningful, consider that a DreamWorks Animation movie similar to the one that received the credit will typically have a crew of about 400 to 500 people.

That film is a big feature, though Lake declined to share details since the project hasn’t been announced.

Both the Animation Guild and studios have pointed to the incentive as a way to bring back animation jobs to the Golden State.

“Studios have been chasing animation tax credits in other states and countries for years, so it’s incredibly rewarding to see them use California’s for the very first time,” Marissa Bernstel, a trustee on the union’s executive board and member of the task force that helped lobby for the expanded production incentives, said in a statement last week. “The results feel very real, and I’m excited to see what future employment opportunities the incentive inspires.”

Lake said DreamWorks hopes to take advantage of the state incentives for all of its full-budget films.

“We’ll be applying for the next window,” he said, adding that he hoped they will be successful so “we’ll be able to have more and more of our films be fully produced in state. That’s the goal.”

Stuff We Wrote

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Number of the week

Lionsgate’s “Michael” had a massive opening weekend with just over $217 million in global box-office revenue. In the U.S. and Canada, the Michael Jackson biopic hauled in about $97 million, far surpassing studio expectations.

The film, which stars Jackson’s nephew, Jaafar Jackson, as the late singer, chronicles the pop star’s rise from his early days in the Jackson 5 through the growth of his solo career. The movie ends in 1988 while Jackson is on tour for his hit album “Bad.”

The premiere for “Michael” marks the biggest domestic opening for any biopic, musical or otherwise. The 2015 movie “Straight Outta Compton” previously held the record for highest opening weekend total for a musical biopic, with $60 million in the U.S. and Canada, followed by the Queen biopic “Bohemian Rhapsody” in 2018, which had a $51.1-million domestic opening.

Critics’ reviews of “Michael,” however, were largely negative. Many noted the plot sidesteps the child sexual abuse allegations against Jackson and said the film presents a more one-dimensional view of the singer.

An earlier cut of the film did end in 1993 and addressed the allegations, but that ending had to be scrapped due to a clause in a legal settlement with an accuser that stipulated he could never be pictured or mentioned in a dramatization of Jackson’s life. Jackson and his estate have denied that the pop star abused children.

What I’m watching

I finally finished the Hulu series “Paradise” this last week, which kept me guessing about literally everything all the way until the end. I’m interested in seeing where this genre-morphing show goes next season.

Amid the bustle and glitz of last week’s CinemaCon in Las Vegas, one question loomed over the annual trade convention — how will the proposed Paramount Skydance-Warner Bros. Discovery deal affect the movie theater business?

That anxiety showed up in a state of the industry speech from Cinema United trade group President Michael O’Leary, who reiterated his organization’s opposition to further industry consolidation.

It showed up in a trailer for Amazon MGM Studios’ upcoming film “Spaceballs: The New One,” when a voiceover poked fun at Hollywood studios “merging willy-nilly” as images of the Paramount sign and Warner Bros. water tower flashed across the screen.

And the subject again took center stage — literally — when Paramount Chief Executive David Ellison himself gave a speech during his studio’s presentation at Caesars Palace. He sought to reassure the assembled movie theater operators and exhibition executives that the combined company would indeed release a minimum of 30 films a year.

“I wanted to look every single one of you in the eye and give you my word,” he said during an onstage speech, in which he also committed to a 45-day theatrical window and 90-day period before films go to streaming services. “People can speculate all they want, but I am standing here today telling you personally that you can count on our complete commitment. And we’ll show you we mean it.”

It’s true that Paramount has nearly doubled its theatrical releases since Ellison took over. As he noted in his speech, the storied studio is now planning 15 films this year, up from eight in 2025.

But as I’ve written previously, theater owners and other studio executives question how releasing 30 movies a year across the combined Paramount-Warner Bros. would work — not only in terms of giving each film the proper marketing campaign to succeed in theaters but also because of the massive cost cuts that will inevitably occur once the merger is final.

Still, Ellison’s commitment to 30 films a year got a round of enthusiastic applause — and at least one high-profile boost.

A day earlier, AMC Entertainment Holdings Inc. Chief Executive Adam Aron told me in an interview that he backed Ellison’s takeover of Warner, saying he and AMC believed in the tech scion’s talent as a filmmaker and a movie executive, as well as his pledge to release those 30 films a year.

“We’re enthusiastic that David will fulfill his promises,” Aron said. “And that in the end, this will prove to be a good thing for our company and our industry.”

Not everyone shares that enthusiasm.

More than 4,000 people have now signed an open letter opposing the Paramount-Warner deal, arguing that consolidating two studios will lessen consumer choice and job opportunities for creatives, particularly at a time when Hollywood is already struggling. (Notable signatories include “Dune” director Denis Villeneuve, actors Glenn Close and Emma Thompson, as well as director and producer JJ Abrams.)

O’Leary of Cinema United similarly wasn’t convinced.

“While recent pledges attempt to address the threats of consolidation to our industry, they are not yet sufficient in addressing our concerns,” he said in a statement released hours after Ellison’s speech. “We remain open to tangible commitments that will ensure a vibrant global theatrical exhibition industry for years to come.”

Elsewhere at CinemaCon, the mood was upbeat.

Warner Bros. film chiefs Mike De Luca and Pam Abdy struck a triumphant tone after an award-winning year for the studio, capped off by the best picture win for “One Battle After Another.”

They unveiled footage from new films like the upcoming “Digger” from director Alejandro G. Iñárritu and brought out lead actor Tom Cruise to a sustained standing ovation from the audience. And both De Luca and Abdy espoused optimism for the future of the theatrical business. The studio plans to release 14 films this year and as many as 18 for 2027.

“The film business has always required smart betting, and we have 4 billion reasons from last year to think we’re holding the right cards,” De Luca said during the presentation, referring to the studio’s worldwide box office revenue last year.

“We all know they’re not all going to work. That comes with taking swings,” Abdy said of the studios’ films. “There’s no version of this business that’s risk-free. But our job is to step up, make our bets and own it when it doesn’t work.”

But the end of the presentation felt more somber, with the executives asking the heads of Warner Bros.’ labels to come to the stage and be recognized. Shortly after, they asked Warner Bros. employees in the audience to stand for applause. It was hard to escape the feeling that this may be the end of an era.

Stuff We Wrote

Film shoots

Number of the week

1,000

Last week, Walt Disney Co. began a sweeping round of layoffs that’s expected to cull 1,000 jobs across multiple divisions.

As my colleague Meg James reported, the cuts hit Disney’s television and movie studios, sports giant ESPN, its product and technology unit, corporate functions and marketing. Even Marvel Studios’ visual development team was affected.

The layoffs are one of the first major moves under new Disney Chief Executive Josh D’Amaro, who took the reins of the company last month. In a message to employees, he said the company needed to “constantly assess how to foster a more agile and technologically-enabled workforce to meet tomorrow’s needs.”

What I’m watching

Some friends and I watched “Fukushima: A Nuclear Nightmare” this past weekend, a truly eye-opening documentary that explains what happened during the March 11, 2011, nuclear accident and whether the world has learned anything from it.

By early 1963, the Station Hotel in London had become an epicenter of the burgeoning British blues scene. On a blustery, snowy night that February, the Rolling Stones’ classic early lineup took the stage for one of the first times, dazzling the audience with ferocious renditions of blues standards like Muddy Waters’ “I Want to Be Loved” and Jimmy Reed’s “Bright Lights, Big City.”

Multi-instrumentalist Brian Jones, the band’s founder and leader, synchronized guitars with Keith Richards, who favored a distinctive slashing and stinging style. Drummer Charlie Watts, the group’s newest member, a jazz aficionado and an accomplished percussionist, propelled the music forward with a rock-solid beat.

Anchoring the rhythm section with him was bassist Bill Wyman, who was recruited more for his spare VOX AC30 amp that the guitarists could plug into than for his musical skills. The stoic bassist proved a strong and innovative player. Together, he and Watts would go on to form one of rock’s most decorated rhythm sections.

Ian Stewart’s energetic boogie-woogie piano style rounded out the sound. Months later, manager Andrew Loog Oldham kicked him out of the band for being “ugly,” although Stewart continued to record, tour and serve as the band’s road manager until his death in 1985.

This April 8, 1964, file photo shows the Rolling Stones during a rehearsal. The members, from left, are Brian Jones, guitar; Bill Wyman, bass; Charlie Watts, drums; Mick Jagger, vocals; and Keith Richards, guitar.

(Associated Press)

Fronting the group was Mick Jagger. Channeling the music like a crazed shaman, Jagger shimmied and sashayed, owning the stage like few lead singers have before or since. By the end of the night, the Stones had the crowd in a frenzy. Although only 30 people had made it to the gig because of the treacherous weather conditions, the hotel’s booker had seen enough: He offered the Stones a regular gig.

“The Rolling Stones had caught fire. The music they were playing and the way they played it struck a chord with a young crowd starved for something different, something their own… It was soul-stirring, loud and uncompromising,” writes Bob Spitz in “The Rolling Stones: The Biography,” his magisterial work that charts the 60-year journey of “the greatest rock and roll band in the world.”

Spitz, the author of strong biographies on the Beatles and Led Zeppelin, as well as Ronald Reagan and Julia Child, captures the drama, trauma and betrayals that have kept the Stones in the public’s consciousness for more than six decades. It’s all here: The Stones’ evolution from a blues cover band to artistic rival of the Beatles; the musical peaks — “Aftermath,” “Let It Bleed” and “Exile on Main Street” as well as misfires like “Dirty Work”; Keith’s descent into a debilitating heroin addiction that nearly destroyed him and the band; the death of the ‘60s at the ill-fated Altamont free concert; Marianne Faithfull, Anita Pallenberg, Bianca Jagger, Jerry Hall and other lovers, partners and muses; the breakups, makeups and crackups; and perhaps most important, the unbreakable bond between Jagger and Richards at the center of it all.

Although Spitz unearths little new information, he excels at presenting the Stones in glorious Technicolor. Spitz homes in on the telling details and anecdotes that give the band’s story a deep richness and poignancy.

Take “Satisfaction,” the Stones’ 1965 classic and first U.S. chart topper. The oft-told story is that Richards woke up in the middle of the night, grabbed the guitar that was next to his bed, and recorded the iconic riff and the phrase “I can’t get no … satisfaction” on a cassette recorder in his Clearwater, Fla., hotel room before falling back asleep. But as Spitz notes, the song initially went nowhere in the studio. That is until Stewart purchased a fuzz box for Richards a few days later, which gave the tune a raunchier sound that perfectly matched Jagger’s lyrics of frustration and alienation. A classic was born.

Piercing the Stones mythology

Spitz’s deep reporting often pierces the mythology surrounding the band. Contrary to the popular belief of many fans, for instance, Jones bears much of the responsibility for the rift with his bandmates and his tragic demise.

The most musically adventurous member of the group — he plays sitar on “Paint It Black” and dulcimer on “Lady Jane” — Jones wasn’t a songwriter. That stoked his jealousies and insecurities, along with frontman Jagger stealing the spotlight from him. A monster of a man, Jones impregnated multiple teenage girls and physically and emotionally abused several women, including Pallenberg. Perhaps that’s why she left him for Richards. Over time, Jones made fewer contributions in the studio and onstage, becoming a catatonic drug casualty. The Stones fired Jones in June 1969 but would have been justified doing so a couple years earlier. He drowned in his pool less than a month later.

Author Bob Spitz

(Elena Seibert)

Similarly, Stones lore has long romanticized the making of “Exile on Main Street” in the stifling, dingy basement of Richards’ rented Villa Nellcôte in the South of France, where the Stones had decamped to avoid British taxes. In this telling, Richards, deep in the throes of heroin addiction, somehow managed to come up with one indelible riff after another built around his signature open G tuning — taught to him by Ry Cooder — leading the band to create one of the best albums in rock history. That’s not entirely accurate, according to Spitz.

Yes, Richards came up with the licks for “Rocks Off,” “Happy” and “Tumbling Dice.” But it’s equally true that a strung-out Richards missed myriad recording sessions, invited dealers, hangers-on and other distractions to Nellcôte, and repeatedly failed to turn up to write with Jagger. Far from completing the album in the druggy haze of a French basement, the band spent six months on overdubs at Sunset Sound in Los Angeles, where Jagger contributed many of his vocals.

Beatles vs. Stones

One of the more interesting themes Spitz develops is the symbiotic relationship between the Beatles and Stones, with the Fab Four mostly overshadowing them — until they didn’t.

John Lennon and Paul McCartney wrote “I Wanna Be Your Man” and gave it to the Stones, whose 1963 rendition, with Jones on slide guitar, became the group’s first UK Top 20 hit. The Lennon-McCartney songwriting partnership inspired Jagger and Richards to begin penning their own songs. In early 1964, the Beatles came to the U.S. for the first time, making television history with their appearance on “The Ed Sullivan Show” and playing Carnegie Hall. A few months later, the Stones kicked off their inaugural American tour at the Swing Auditorium in San Bernardino. In 1967, the Beatles released “Sgt. Pepper’s Lonely Hearts Club Band,” a psychedelic masterpiece. The Stones responded with “Their Satanic Majesties Request,” a psychedelic mess.

The Rolling Stones: The Biography cover

As the Beatles began to splinter, Spitz writes, the Stones sharpened their focus. The band released “Beggars Banquet” in late 1968 and “Let It Bleed” the following year, albums every bit as innovative and visionary as “The White Album” and “Abbey Road.” For the first time, the two groups stood as equals.

When the Beatles broke up in 1970, the Stones kept rolling. With Jones replaced by virtuoso guitarist Mick Taylor — whose fluid, melodic style served as a tasty foil to Richards — they produced what many consider their finest works, “Sticky Fingers” and “Exile on Main Street.” More impressively, the band, with Taylor’s successor, Ronnie Wood, has continued to dazzle audiences with incendiary live shows, touring as recently as 2024 behind the late-career triumph “Hackney Diamonds.” The Beatles, by contrast, retired from the road in 1966 and devoted their energies to the studio.

Hundreds of books have been written about the Rolling Stones, but few sparkle quite like Spitz’s. For anyone who loves or even likes the Stones, it’s indispensable.

Like most of the band’s biographers, Spitz gives short shrift to the post-“Exile” period after 1972. He curtly dismisses 2005’s strong “A Bigger Bang” and 2016’s “Blue & Lonesome,” a back-to-basics album of blues covers, as “adequate endeavors that signaled a band living on borrowed time.” That critique is both off target and under-developed. Spitz ignores the band’s legendary live album, “Brussels Affair,” recorded in 1973, or why the band waited decades before officially releasing it.

These are small quibbles. Spitz has written a book worthy of its 704-page length; another 50 or so pages covering the later years would have made it even stronger. To quote the Rolling Stones: “I know it’s only rock ‘n roll, but I like it, like it, yes, I do.”

Marc Ballon, a former Times, Forbes and Inc. Magazine reporter, teaches an advanced writing class at USC. He lives in Fullerton.

It has been just one day at CinemaCon in Las Vegas, and there’s already a palpable sense of relief in the air.

Attendance at this year’s show is up about 5% from last year, according to Cinema United, the trade group that organizes the four-day convocation of thousands of movie theater owners, studio executives and industry folks at Caesars Palace.

Groups of people wearing orange-colored lanyards are everywhere throughout the hotel and casino, with many filling the Colosseum on Monday afternoon for a presentation from specialty film companies Angel Studios, Sony Pictures Classics and StudioCanal.

“The energy in every room reflected a sector that believes deeply in its own future,” said Stephanie Silverman, owner of the Belcourt Theatre in Nashville who serves on Cinema United’s strategic planning committee. “For independents, that sense of collective purpose is powerful — we’re not just holding on, we’re building toward something real and lasting.”

Amid such upbeat sentiment, CinemaCon allows theater owners and their business partners to see what’s coming from each studio and get a snapshot of the year ahead.

On Monday, Provo, Utah-based Angel Studios showed footage from their upcoming film “Young Washington,” about the early life of the first U.S. president, as well as a trailer from an animated retelling of George Orwell’s “Animal Farm.”

“Theatrical isn’t fragile,” Shelley Schulz, vice president of domestic theatrical sales and exhibitor strategy at Angel Studios, said during the presentation. “It’s not fading. It’s evolving.”

European indie film studio StudioCanal also unveiled some of its upcoming films, including scenes from a new animated “Shaun the Sheep” movie that got laughs from the audience, before bringing out director Danny Boyle to applause and cheers to speak about his new film “Ink,” about the beginnings of the British tabloid “The Sun.”

Later this week, Warner Bros., Universal, Amazon MGM, Paramount and Disney will unveil footage from their upcoming releases and likely bring their major stars on-stage to build excitement about this year’s slate.

As I reported Monday, a string of recent hits like Amazon MGM Studios’ “Project Hail Mary” and Universal Pictures, Nintendo and Illumination’s “The Super Mario Galaxy Movie” have pushed year-to-date domestic box office revenue about 23% higher than the same time last year.

The upswing signals that the exhibition business is embarking on its long-awaited recovery from the devastating downturn that occurred in the aftermath of the pandemic.

Studio executives and theater operators chalk up the improved prospects in part to a better and more plentiful crop of bankable movies that are bringing people back to the multiplex.

Exhibitors feel better about the lineup this year — it’s full of major franchises like “Star Wars” and Marvel superheroes as well as well-known animated titles such as “Toy Story 5” and “Minions & Monsters.” Also coming are anticipated films from acclaimed directors Christopher Nolan and Steven Spielberg.

“We’re getting into that cadence we needed in terms of having good movies, different types of movies being released every weekend,” Cinépolis USA Chief Executive Luis Olloqui told me ahead of CinemaCon. “This year in general, we’re feeling more confident, more optimistic.”

It’s quite the turnaround from the anxiety I heard last year leading into CinemaCon, when theater owners grappled with the box office downturn and the general shakiness of the industry.

Not to say that this year is all roses.

As I wrote, there are still major question marks facing the industry, including how Paramount Skydance’s proposed acquisition of Warner Bros. Discovery will affect the business. Paramount Chief Executive David Ellison has said the combined company will release 30 films a year, but exhibitors fear that cost cuts from the deal could impede that goal, which many believe is unrealistic.

And Hollywood is still going through a painful retrenchment.

Just last week, Sony Pictures Entertainment said it would cut hundreds of jobs across its film, TV and corporate divisions. Then came the news about upcoming layoffs at Disney, which could number as many as 1,000.

It hasn’t been much better in the exhibition space, either. In February, Dallas-based Look Dine-In Cinemas abruptly closed three Southern California locations; then, in March, the iPic chain filed for Chapter 11 bankruptcy protection and said it planned to pursue a sale of its assets.

A better box office this year wouldn’t solve all of these problems, but it would inject more hope into an industry that has been in turmoil since the pandemic.

Stuff we wrote

Film shoots

Number of the week

Warner Bros. Discovery Chief Executive David Zaslav could get as much as $887 million to leave the company after the Paramount Skydance acquisition.

That amount “represents one of the highest golden parachute estimates ever observed,” investor advisory firm Institutional Shareholder Services wrote in a recent report. The firm said support for the proposal “is not warranted.”

Warner shareholders will vote April 23 on the proposed takeover.

What I’m watching

For years, one of the shows on my weekly must-watch list is “Ghosts,” the delightful comedy about a couple who moves into a historic mansion haunted by its previous inhabitants. After a long week, the antics of Viking ghost Thorfinn always make me laugh.

GO to Dungeon Lane today and it’s strange to think it occupies a special place in Paul McCartney’s heart.

Yet it will go down in pop history alongside other street names associated with him, joining Penny Lane and Abbey Road.

Situated in the Speke neighbourhood of Liverpool, the L24 postal district, a faded road sign sets the tone for its desolate air.

It is bordered on one side by a solar farm business and, on the other, by a fenced-off area of scrubland which separates it from the city’s John Lennon Airport.

Before you get very far, a bright yellow “emergency access gate” bars further exploration.

But, as a child, Dungeon Lane was McCartney’s gateway to a stunning rural idyll where he could escape the hustle and bustle of urban life.

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In the Fifties, the lane took him past a daffodil farm to the Oglet Shore on the widest stretch of the River Mersey.

I wonder if young Paul, a keen birdwatcher, ventured into this wilderness clutching his trusty The Observer’s Book Of Birds.

There, he may have spotted any number of waders — curlew, snipe, dunlin, black-tailed godwits.

What we do know is that his lifelong love of our feathered friends began in those days.

This helps explain the compositions dotted through his career such as Blackbird with The Beatles, Single Pigeon with Wings, Two Magpies with The Fireman and solo efforts Jenny Wren and Long Tailed Winter Bird.

To McCartney, his early rambles into the countryside represent humbler, simpler times before The Fab Four exploded on to the scene, before his storied life in the dazzling glare of publicity.

Sir Paul, 83, has called his 19th solo album The Boys Of Dungeon Lane . . . which is, as he suggests, a trip down memory lane.

He got the title from the lyrics of its first single, Days We Left Behind, released yesterday, a nostalgia-filled acceptance that he has a far longer past than future.

Intimate, beautifully sung with Macca playing acoustic guitar, bass, piano and harmonium himself (how does he do that!?), it is the first taste of a project that has been five years in the making.

“This is very much a memory song for me,” he says. “I was thinking about just that . . . the days I left behind.

“And I do often wonder if I’m just writing about the past — but then I think, how can you write about anything else?”

For McCartney, the song conjures up “a lot of memories of Liverpool. It involves a bit in the middle about John [Lennon] and Forthlin Road which is the street I used to live in. Dungeon Lane is near there.”

Paul was born on June 18, 1942, to his midwife mother Mary and salesman father Jim, and they moved with younger brother Mike to 20, Forthlin Road, Allerton, in the mid-Fifties from Speke, where they had lived since 1947.

We also know that Paul first bumped into John on July 6, 1957, at roughly 4pm, at a garden fete behind St Peter’s Church, Woolton.

In Days We Left Behind, he sings of the bond he formed with the lanky lad 20 months older than him: “We met at Forthlin Road/And wrote a secret code/To never be spoken.”

Continuing his reflection on the song, he says: “I used to live in a place called Speke which is quite working class.

“We didn’t have much at all but it didn’t matter because all the people were great and you didn’t notice you didn’t have much.”

As already mentioned, birdwatching was a hobby, one that required little cash and gave him a lot of pleasure “in the nearby woods and fields”.

A recent entry in Macca’s Spotify playlists, under the banner Sticking Out Of My Back Pocket, came accompanied by these musings . . .

“My mum had the midwife’s house on the edge of Liverpool, where we lived,” he says.

“It was where Liverpool just stopped and became deep countryside, so that was when I had the opportunity to do quite a bit of birdwatching.”

He particularly cherishes the moment he saw a “skylark rising into the sky, singing its sweet song”.

That unforgettable sight has found its way into Days We Left Behind, with its lines, “In the skies the skylarks rise/Above the sounds of war/Since that day I knew they’d stay/With me for evermore.”

All these decades later, he reflects: “And now because I live part-time on a farm [in Sussex], I’m able to see a lot of birds and I don’t need The Observer’s Book Of Birds quite so much as I did back then.”

McCartney’s new album promises to be one of the most personal, most autobiographical song cycles he’s ever recorded, while also finding room for up-to-date love songs dedicated to third wife Nancy.

Yesterday’s announcement states that it finds him in a “candid, vulnerable and deeply reflective mood, writing with rare openness about his childhood in post-war Liverpool, the resilience of his parents, and early adventures shared with George Harrison and John Lennon”.

I’m guessing here but songs yet to be heard, Momma Gets By and Salesman Saint, appear to be affectionate remembrances of mum Mary, who died when Paul was just 14, and dad Jim.

This is not the first time Macca has delved into his early years for songwriting inspiration.

I talked to him about the playful On My Way To Work, which appeared on his 2013 album, New.

He called it a “collection of memories all morphed together”, providing a fascinating glimpse into his life before Beatlemania.

“It’s about me going to my first job, before The Beatles took off, which was working on a lorry for a delivery company called Speedy Prompt Deliveries — SPD.”

McCartney described going to work on the council-run green and cream buses which led to him looking at risqué magazines like Parade.

“I’d go on the bus at some unearthly hour of the morning,” he said. “I might buy a magazine and look at the nudies. I was too young to be interested in the news!”

He remembered how hard-up kids like him ripped the fronts off cigarette packets and traded duplicates with their mates, instead of collecting “football cards or, like in America, baseball cards”.

“It was like, ‘I’ll swap you two Craven A for a Woodbine’. Then there were the posh brands because this bus route went from the centre of Liverpool to the outskirts.

“Posh people would be smoking Passing Clouds or Sobranies and packets of those were very prized.”

Another song, Queenie Eye, referenced a childhood street game from “1940s Britain”.

“It’s what we used to get up to before video games and that whole home entertainment thing,” he said.

“Someone would be elected to be ‘the one’ or the ‘queenie eye’. We’d all stand behind that person and he would throw a ball over his head and one of us would catch it and hide.

“Then we would all chant, ‘Queenie eye, queenie eye, who’s got the ball? I haven’t got it. It isn’t in my pocket!’ It was simple entertainment for simple minds but great fun.”

Now it is time to return to the 2020s and the creation of The Boys Of Dungeon Lane, the follow-up to his captivating lockdown album, McCartney III.

This time, we’re told we can expect “Wings-style rock, Beatles- style harmonies and McCartney-style grooves”.

The process began around five years ago when Macca met American live-wire producer Andrew Watt, known for his work with Ozzy Osbourne, Lady Gaga, Post Malone and The Beatles’ greatest Sixties chart rivals, the Rolling Stones.

Watt, I gather, “pulled a guitar” on his latest rock icon, who instantly happened upon a chord he didn’t recognise.

As the story goes, the ever- experimental McCartney changed one note, then another, until he had a three-chord sequence.

That led to his new record’s opening track, As You Lie There, which in turn set the ball rolling for the other 13 songs.

It’s remarkable that, as with McCartney III, he is credited with playing all the instruments himself across the whole thing.

It brings to mind how at ease this enduring music obsessive seemed as he suggested specific drum beats and fills to Ringo Starr in The Beatles’ Get Back documentary.

With Macca still touring and playing momentous shows like his 2022 Glastonbury epic, Days We Left Behind has been honed over half a decade when time permitted.

During that period, he even managed to introduce the Stones to producer Watt, who helmed their 2023 comeback album, Hackney Diamonds.

When McCartney was in Los Angeles working with Watt, he was brought in to play bass on Mick Jagger and Co’s punk blast, Bite My Head Off.

Upon its release, I spoke to Keith Richards who was made up over their special guest.

“Yeah, Macca just strolled in with his bass,” the guitar legend drawled. “I think the song reminded him of those times [in the Sixties]. Beatlemania was equally as bizarre as Stones mania.”

There’s a moment towards the end of Bite My Head Off where you can hear someone saying, “Come on Paul, play something”.

“That might have been me,” smiled Richards.

But this is all about Britain’s greatest living songwriter, Paul McCartney, and his new album The Boys Of Dungeon Lane.

Time is precious but when it comes to music and life, he’s still facing forward at 83 — even if he’s remembering a youth long ago when “in the skies, the skylarks rise”.