McCartney's grandfather (Wilfrid Brambell) as a "clean old man" sets up a contrast with the stock description of Brambell's character, Albert Steptoe in Steptoe and Son, as a "dirty old man". Audiences also responded to the Beatles' brash social impudence. Director Richard Lester said, "The general aim of the film was to present what was apparently becoming a social phenomenon in this country. Anarchy is too strong a word, but the quality of confidence that the boys exuded! Confidence that they could dress as they liked, speak as they liked, talk to the Queen as they liked, talk to the people on the train who 'fought the war for them' as they liked. ... [Everything was] still based on privilege—privilege by schooling, privilege by birth, privilege by accent, privilege by speech. The Beatles were the first people to attack this... they said if you want something, do it. You can do it. Forget all this talk about talent or ability or money or speech. Just do it." Despite the fact that the original working titles of the film were first The Beatles and then Beatlemania, the group's name is never spoken in the film—it is, however, visible on Ringo's drum kit, on the stage lighting, and on the helicopter in the final scene. The television performance scene also contains a visual pun on the group's name, with photos of beetles visible on the wall behind the dancers. Production The film was shot for United Artists (UA) using a cinéma vérité style in black-and-white. The film was meant to be released in July 1964, and since it was already March when Lester got to filming, the entire film had to be produced over a period of sixteen weeks. It had a low budget for its time of £200,000 ($500,000) () and filming was finished in under seven weeks, leaving the rest of the time for post-production. At first, the film itself was something of a secondary consideration to UA, whose primary interest was in being able to release the soundtrack album in the United States before Capitol Records (the American EMI affiliate who had first shot at releasing Beatles music in the States) got around to issuing their material; in the words of Bud Ornstein, the European head of production for United Artists: "Our record division wants to get the soundtrack album to distribute in the States, and what we lose