4, (Fall 1982): 258. BRITISH PRODUCTION 1981 In nudging Waters toward his most theatrical impulses, producer Ezrin—famous in part for helping create Alice Cooper—gave the album a narrative through line as comforting and familiar as an old myth (the traumatic rise and tragic fall, the superhero rendered human once again), but gave the impression of wholeness where Waters’ collage-like vision didn’t necessarily imply one. Since Waters was no longer in the starring role, it no longer made sense for the feature to include Pink Floyd footage, so the live film aspect was dropped. Editors’ Notes The screenplay was written by Pink Floyd vocalist and bassist Roger Waters. Re-recorded completely with brass band and Geldof on lead vocals. With Printed Original Inner Sleeves. ("Goodbye Blue Sky") Pink places a bullet on the track of an oncoming train within a tunnel, and the train that passes has children peering out of the windows wearing face masks. To this end, the singer’s name will be bracketed next to the sections of song that he sings. ℗ 2016 THE COPYRIGHT IN THIS SOUND RECORDING IS OWNED BY PINK FLOYD MUSIC LTD., MARKETED AND DISTRIBUTED BY SONY MUSIC ENTERTAINMENT. Lyrics / Artwork © 1979 Pink Floyd / Gerald Scarfe. The footage remains in the film. In the mid-1970s, as Pink Floyd gained mainstream fame, songwriter Roger Waters began feeling increasingly alienated from their audiences: Audiences at those vast concerts are there for an excitement which, I think, has to do with the love of success. Images from the movie © 1982 Sony Music Entertainment. Yet the minute it’s complete, the gravity of his life’s choices sets in. Risky investments had put them under major financial pressure; audiences seemed more interested in the party than the show; band rapport had gotten so strained that Waters started referring to the rest of the members as “the muffins.”And so, alone in a crowd of about 80,000 people, standing under the 40-foot-long inflatable pig that had become a central prop of the band’s set, Waters spit. This is referenced in the song Nobody Home: Got a grand piano to prop up my mortal remains. Since the studio album’s release in 1979, the tour of 1980-81, and the subsequent movie of 1982, the Wall has become synonymous with, if not the very definition of, the term “concept album.” Aurally explosive on record, astoundingly complex on stage, and visually dynamic on the screen, the Wall traces the life of the fictional protagonist, Pink Floyd, from his boyhood days in post-World-War-II England to his self-imposed isolation as a world-renowned rock star, leading to a climax that is as cathartic as it is destructive. For example: Of course mama’s gonna help build a wall. The only songs from the album not used in the film are "Hey You" and "The Show Must Go On". They seem at the very centre of life. Pink Floyd – The Wall is a 1982 musical film directed by Alan Parker, based on the 1979 Pink Floyd album The Wall. "[26] It earned two British Academy Awards: Best Sound for James Guthrie, Eddy Joseph, Clive Winter, Graham Hartstone and Nicholas Le Messurier,[27] and Best Original Song for Waters. easy to read, accurate, and complete The Wall lyrics, covering each Pink Floyd The Wall song Like the album, the film is highly … ("Outside the Wall"). [27], Waters said of the film: "I found it was so unremitting in its onslaught upon the senses, that it didn't give me, anyway, as an audience, a chance to get involved with it," although he had nothing but praise for Geldof's performance. Is There Anybody Out There? EMI suggested that Parker talk to Waters, who had asked Parker to direct the film. ("Bring the Boys Back Home") Returning to the present, Pink's manager finds him in his hotel room, drugged and unresponsive. In addition to the above, Vera Lynn's rendition of "The Little Boy That Santa Claus Forgot" was used as background music during the opening scenes. Beyond the obvious parallel of them both being rock stars, Waters lost his father while he was an infant and had marital problems, divorcing several times. Interiors were shot at Pinewood Studios, and it was suggested that they suspend Geldof in Christopher Reeve's clear cast used for the Superman flying sequences, but his frame was too small by comparison; it was then decided to make a smaller rig that was a more acceptable fit, and he lay on his back. Director Alan Parker, a Pink Floyd fan, asked EMI whether The Wall could be adapted to film. "[16] Waters said that filming was "a very unnerving and unpleasant experience". Pink then fantasizes about the children rising in rebellion and burning down the school, throwing the teacher onto a bonfire.