in the 1980s, including Time Bandits and Shanghai Surprise. Together with "The Inner Light", the Wonderwall project marked the end of Harrison's overtly Indian musical phase. After filming his scenes for the Shankar documentary Raga in Los Angeles, in June 1968, he decided to abandon his sitar studies and return to his first instrument, the guitar. In an interview to promote his Apple signing Jackie Lomax, in September, Harrison said that, although Wonderwall Music represented a style of music he had moved on from in recent months, "I still like [the album]. I still think it's very good." He later cited the Bombay sessions for Wonderwall as the inspiration for his 1974 collaborations with Shankar – namely, the Music Festival from India and their subsequent North American tour. Both of these projects featured Indian musicians that Harrison first worked with in January 1968. Album artwork Apple commissioned American artist Bob Gill to produce a painting for the front cover of Wonderwall Music. Gill recalls that he first attended a meeting at the company's headquarters, where the four Beatles emphasised the importance of the album for their new record label and outlined the concept behind the film. Gill painted a picture in the style of Belgian surrealist René Magritte, showing a formally dressed man "separated by a huge red brick wall from a group of happy bathing Indian maidens", Spizer writes. Apple executive Derek Taylor, whom Harrison had invited to help run the Beatles' label in early 1968, later wrote of Gill's submission: "It was a nice painting but missed the essence of hope." To Gill's chagrin, Harrison requested that a brick be removed from the wall, because he deemed it important to "give the fellow on the other side a chance, just as the Jack MacGowran character had a chance [in the film]". Along with Gill, John Kelly and Alan Aldridge were credited for designing the album's artwork. For the back cover of the LP, Harrison chose a photo of part of the Berlin Wall – a stock image from the Camera Press picture agency – which Kelly and Aldridge then manipulated and mirrored to represent a corner. Taylor describes the result as innovative for its time, with the wall made to look "proud and sharp as the prow of a liner". The sleeve was designed so that the rear face appeared upside down relative to the front. In America,