How Long Is The Wall Album

1982 film directed by Alan Parker

Pinkish Floyd – The Wall
Theatrical release affiche
Directed past	Alan Parker Animation: Gerald Scarfe
Screenplay by	Roger Waters
Based on	The Wall by Pink Floyd
Produced by	Alan Marshall
Starring	Bob Geldof
Cinematography	Peter Biziou
Edited by	Gerry Hambling
Music by	Pink Floyd Bob Ezrin Michael Kamen
Product companies	Metro-Goldwyn-Mayer Tin Blue Productions Goldcrest Films International
Distributed past	United International Pictures[1]
Release dates	23 May 1982 (1982-05-23) (Cannes) 14 July 1982 (1982-07-xiv) (Uk)
Running time	95 minutes[one]
Country	Uk
Language	English language
Budget	$12 million[2]
Box office	$22.ii million[3]

Pink Floyd – The Wall is a 1982 British live-activity/animated psychological musical drama picture directed past Alan Parker, based on Pink Floyd'south 1979 album of the same name. The screenplay was written by Pinkish Floyd vocalist and bassist Roger Waters. The Boomtown Rats singer Bob Geldof plays rock star Pink, who, driven insane by the decease of his father, constructs a physical and emotional wall to protect himself.

Like the album, the film is highly metaphorical, and symbolic imagery and sound are nowadays almost unremarkably. The motion picture is mostly driven by music and features niggling dialogue from the characters. Despite its turbulent production and the creators voicing their discontent about the final product, the film received generally positive reviews and has an established cult following.

Plot [edit]

At the start of the film, Pink is a depressed stone star who appears motionless and expressionless while remembering his father. A flashback reveals how his father was killed defending the Anzio beachhead during World War Ii in Pink's infancy. Pink's mother raises him alone. A young Pinkish later discovers relics from his father'south military service and death. An animation depicts the war, showing that the death of the people was for nothing. 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.

At school, he is defenseless writing poems in class and is humiliated by the instructor, who reads a poem from Pink's volume. Still, it is revealed that the poor handling of the students is because of the unhappiness of the instructor's marriage. Pink recalls an oppressive school organization, imagining children falling into a meat grinder. He and so fantasizes about the children rising in rebellion and called-for down the school, throwing the teacher onto a bonfire. Every bit an adult, Pink remembers his overprotective mother and his matrimony. During a phone telephone call, Pink realises that his wife is cheating on him. Another animation shows that his traumatic experiences are represented as a "brick" in the metaphorical wall he constructs around himself that divides him from guild.

Pink so returns to the hotel room with a groupie, only for him to destroy the room in a fit of violence, scaring her away. Depressed, he thinks virtually his wife and feels trapped in his room. He then remembers every "brick" of his wall. His wall is shown to be consummate, and the film returns to the first scene.

Now inside his wall, he does not leave his hotel room and begins to lose his mind to metaphorical "worms". He shaves all his body hair and watches television. A flashback shows immature Pinkish searching through the trenches of the war, somewhen finding himself every bit an adult. Young Pink runs in terror and appears at a railway station, with the people enervating that the soldiers return dwelling house. Returning to the present, Pink's manager finds him in his hotel room, drugged and unresponsive. A paramedic injects him to enable him to perform.

In this land, Pink thinks he is a dictator, and his concert is a fascist rally. His followers attack black people. He then holds a rally in London. The scene includes images of animated marching hammers that goose-step across ruins. Pink then stops hallucinating and screams, "Terminate!" deciding he no longer wants to be in the wall. He is then seen cowering in a bathroom stall, quietly singing to himself as a security guard walks by him. In a climactic animated sequence, Pink, as a rag doll, is on trial for "showing feelings of an nearly human nature". His teacher and wife accuse him, while his mother tries to take him home. His sentence is "to be exposed before his peers," and the gauge gives the club to "tear down the wall!". Following a prolonged silence, the wall is smashed every bit Pink can exist heard screaming. Pink is not seen again. Back to live action, several children are seen cleaning upwardly a pile of droppings, with a freeze-frame on one of the children emptying a Molotov cocktail as the film ends.

Cast [edit]

• Bob Geldof as Pink
  • Kevin McKeon equally Immature Pink
  • David Bingham as Niggling Pink
• Christine Hargreaves as Pink'southward mother
• Eleanor David as Pink's wife
• Alex McAvoy as Teacher
• Bob Hoskins as Stone managing director
• Michael Ensign equally Hotel manager
• James Laurenson as Pink's father
• Jenny Wright as American groupie
• Margery Bricklayer as Teacher'southward wife
• Ellis Dale as English language dr.
• James Hazeldine as Lover
• Ray Mort every bit Playground father
• Robert Bridges as American physician
• Joanne Whalley, Nell Campbell, Emma Longfellow, and Lorna Barton as Groupies
• Philip Davis and Gary Olsen as Roadies

Product [edit]

Concept [edit]

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 recollect, has to do with the honey of success. When a band or a person becomes an idol, it can take to practice with the success that that person manifests, not the quality of work he produces. You don't become a fanatic because somebody's work is practiced, you lot become a fanatic to be touched vicariously by their glamour and fame. Stars—motion picture stars, stone 'n' roll stars—represent, in myth anyhow, the life as we'd all like to alive it. They seem at the very centre of life. And that'south why audiences however spend big sums of money at concerts where they are a long, long way from the phase, where they are oftentimes very uncomfortable, and where the audio is often very bad.^[4]

Waters was also dismayed by the "executive arroyo", which was only near success, not fifty-fifty attempting to get acquainted with the actual persons of whom the band was composed (addressed in an before vocal from Wish You lot Were Here, "Have a Cigar"). The concept of the wall, along with the decision to name the lead grapheme "Pinkish", partly grew out of that arroyo, combined with the issue of the growing alienation betwixt the band and their fans.^[5] This symbolised a new era for rock bands, every bit Pink Floyd explored "the hard realities of 'beingness where we are'", echoing ideas of alienation described past existentialists such equally Jean-Paul Sartre.^[6]

Evolution [edit]

The animation segments, including the "marching hammers", were blithe by Gerald Scarfe

Fifty-fifty earlier the original Pink Floyd album was recorded, the intention was to make a film from it.^[vii] The original plan was for the moving-picture show to be live footage from the anthology's tour, together with Scarfe's blitheness and extra scenes,^[8] and for Waters himself to star.^[8] EMI did non intend to make the film, as they did not empathize the concept.^[ix]

Managing director Alan Parker, a Pink Floyd fan, asked EMI whether The Wall could be adjusted to moving-picture show. EMI suggested that Parker talk to Waters, who had asked Parker to straight the pic. Parker instead suggested that he produce it and requite the directing task to Gerald Scarfe and Michael Seresin, a cinematographer.^[x] Waters began work on the film'due south screenplay later studying scriptwriting books. He and Scarfe produced a special-edition book containing the screenplay and art to pitch the project to investors. While the volume depicted Waters in the function of Pink, after screen tests, he was removed from the starring role^[11] and replaced with new moving ridge musician and frontman of the Boomtown Rats, Bob Geldof.^[8] In Behind the Wall, both Waters and Geldof after admitted to a story during casting where Geldof and his managing director took a taxi to an airport, and Geldof'southward director pitched the role to the singer, who continued to reject the offering and express his contempt for the project throughout the fare, unaware that the taxi commuter was Waters' brother, who told Waters about Geldof'due south opinion.

Since Waters was no longer in the starring role, it no longer made sense for the feature to include Pink Floyd footage, and then the alive film aspect was dropped.^[12] The footage culled from the 5 Wall concerts at Earl's Court from 13–17 June 1981 that were held specifically for filming was deemed unusable also for technical reasons as the fast Panavision lenses needed for the depression light levels turned out to have insufficient resolution for the movie screen. Complex parts such every bit "Hey You lot" still had not been properly shot past the terminate of the alive shows.^[13] Parker convinced Waters and Scarfe that the concert footage was too theatrical and that information technology would jar with the animation and stage live action. After the concert footage was dropped, Seresin left the project and Parker became sole manager.^[14]

Filming [edit]

Parker, Waters and Scarfe frequently clashed during production, and Parker described the filming as "one of the nearly miserable experiences of my artistic life."^[15] Scarfe declared that he would drive to Pinewood Studios carrying a canteen of Jack Daniel'due south, considering "I had to take a slug earlier I went in the forenoon, because I knew what was coming up, and I knew I had to fortify myself in some way."^[16] Waters said that filming was "a very unnerving and unpleasant experience".^[17]

During production, while filming the destruction of a hotel room, Geldof suffered a cut to his paw equally he pulled away the Venetian blinds. The footage remains in the film. Information technology was discovered while filming the pool scenes that Geldof did non know how to swim. Interiors were shot at Pinewood Studios, and information technology was suggested that they append Geldof in Christopher Reeve'due south clear bandage used for the Superman flying sequences, simply his frame was likewise small past comparison; it was then decided to brand a smaller rig that was a more acceptable fit, and he lay on his back.^[eighteen] In Nicholas Schaffner'southward volume Saucerful of Secrets: The Pink Floyd Odyssey (1991) it is claimed that the body cast from the flick Supergirl (1984) was actually used instead.^[19]

The war scenes were shot on Saunton Sands in N Devon, which was as well featured on the cover of Pink Floyd's A Momentary Lapse of Reason six years later.^[20]

Release [edit]

The movie was shown out of competition during the 1982 Cannes Film Festival.^[21]

The premiere at Cannes was astonishing – the midnight screening. They took down two truckloads of audio equipment from the recording studios and then it would sound better than normal. It was one of the last films to exist shown in the old Palais which was pretty run down and the sound was so loud information technology peeled the paint off the walls. It was like snow – it all started to shower downwards and anybody had dandruff at the cease. I recall seeing Terry Semel in that location, who at the time was head of Warner Bros., sitting next to Steven Spielberg. They were only five rows ahead of me and I'grand certain I saw Steven Spielberg mouthing to him at the cease when the lights came up, 'what the fuck was that?' And Semel turned to me and then bowed respectfully.

'What the fuck was that?,' indeed. It was like nothing anyone had always seen before – a weird fusion of live-activeness, story-telling and of the surreal.

Alan Parker^[22]

The picture show'south official premiere was at the Empire, Leicester Square^[23] in London, on fourteen July 1982. It was attended by Waters and fellow Pink Floyd members David Gilmour and Nick Mason, but not Richard Wright,^[23] who was no longer a member of the band. It was as well attended by various celebrities including Geldof, Scarfe, Paula Yates, Pete Townshend, Sting, Roger Taylor, James Chase, Lulu and Andy Summers.^[24]

Box office and critical reception [edit]

Then it's hard, painful and despairing, and its 3 most important artists came away from it with bad feelings. Why would anybody desire to run across it? Perhaps because filming this cloth could not possibly accept been a happy experience for anyone—not if it's taken seriously.

Roger Ebert^[25]

The Wall opened with a limited release on 6 August 1982 and entered at No. 28 of the Usa box role charts despite only playing in one theatre on its first weekend, grossing over $68,000, a rare feat fifty-fifty past today's standards. The film and then spent just over a calendar month below the meridian 20 while still in the top 30. The film later expanded to over 600 theatres on 10 September, achieving No. 3 at the box office charts, below East.T. the Extra-Terrestrial, and An Officer and a Gentleman. The motion-picture show eventually earned $22 million before closing in early 1983.^[3]

The moving picture received generally positive reviews. Review aggregator website Rotten Tomatoes gives the pic the approval rating of 72% based on 29 critic reviews, with the boilerplate score of vii.iii out of 10. The critical consensus reads "Pink Floyd'southward expression of generational malaise is given hitting visual form The Wall, although this ambitious feature's narrative struggles to marry its provocative images and psychedelic soundtrack into a compelling whole."^[26]

On Metacritic, the film holds the weighted average score of 47 out of 100 based on 13 critic reviews, indicating "mixed or boilerplate reviews".

Reviewing The Wall on their television set programme At the Movies in 1982, motion picture critics Roger Ebert and Gene Siskel gave the film "2 thumbs up". Ebert described The Wall as "a stunning vision of self-destruction" and "one of the nearly horrifying musicals of all time ... but the picture is effective. The music is strong and true, the images are like sledge hammers, and for once, the rock and whorl hero isn't only a spoiled narcissist, but a real, suffering epitome of all the despair of this nuclear age. This is a real good movie." Siskel was more reserved in his judgement, stating that he felt that the film's imagery was too repetitive. Nonetheless, he admitted that the "central image" of the fascist rally sequence "will stay with me for an awful long time." In February 2010, Ebert added The Wall to his Great Movies list, describing the film every bit "without question the best of all serious fiction films devoted to stone. Seeing information technology now in more timid times, information technology looks more daring than information technology did in 1982, when I saw it at Cannes ... Information technology's disquieting and depressing and very skillful."^[25] It was chosen for the opening nighttime of Ebertfest 2010.

Danny Peary wrote that the "flick is unrelentingly downbeat and at times repulsive ... but I don't find it unwatchable – which is more than than I could say if Ken Russell had directed this. The cinematography by Peter Biziou is extremely impressive and a few of the individual scenes take undeniable ability."^[27] It earned two British Academy Awards: All-time Sound for James Guthrie, Eddy Joseph, Clive Winter, Graham Hartstone and Nicholas Le Messurier,^[28] and Best Original Song for Waters.^[28]

Waters said of the film: "I found information technology was so unremitting in its onslaught upon the senses, that information technology didn't give me, anyhow, equally an audience, a chance to become involved with it," although he had nothing but praise for Geldof's operation.^[17]

Gilmour stated (on the "In the Studio with Redbeard" episodes of The Wall, A Momentary Lapse of Reason and On an Island) that the conflict betwixt him and Waters started with the making of the film. Gilmour also stated on the documentary Backside The Wall (which was aired on the BBC in the Britain and VH1 in the Usa) that "the movie was the less successful telling of The Wall story as opposed to the album and concert versions."

Although the symbol of the crossed hammers used in the picture was non related to any real group, information technology was adopted by white supremacist group the Hammerskins in the late 1980s.^[29]

Themes and analysis [edit]

It has been suggested^{[ by whom? ]} that the protagonist stands for Waters. 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.^[30] It has also been suggested that Pink represents former lead singer, author and founding fellow member Syd Barrett, both in his advent likewise as in several incidents and anecdotes related to Barrett's descent from popular stardom due to his struggles with mental illness and self-medicating with drugs. One seemingly blatant reference is Pink's detachment from the world as he locks himself away in his room before a show and shaves himself downwardly while suffering a mental suspension. During a mental breakup, Barrett shaved his head and face before showing up to a ring rehearsal (subsequently already having been removed from the ring). All the same, Bob Geldof, who plays Pink in the film, refused to shave his caput for this function of the operation.

Some other influence was the declining state of pianist, Richard Wright, who was allegedly struggling with cocaine addiction at the time. This is referenced in the song Nobody Home: Got a grand piano to prop upwards my mortal remains.^[31]

Romero and Cabo identify the Nazism and imperialism related symbols in the context of Margaret Thatcher's authorities and British foreign policy especially concerning the Falklands issue.^[32]

"In that location's a scene in the movie of The Wall where the guy smashes upwards a hotel room and tries to put it together," remarked Trent Reznor, explaining the theme of 9 Inch Nails' The Fragile. "Equally he tries, it's obviously non right, simply he'due south trying to make semblance [sic] of things. That'due south a visual that I've used in my caput. It's helped me."^[33]

Awards [edit]

List of awards
Award	Category	Recipient(southward)	Upshot
BAFTA Awards[28]	All-time Original Song	Roger Waters, for the song "Another Brick in the Wall"	Won
	All-time Sound	James Guthrie, Boil Joseph, Clive Winter, Graham V. Hartstone, Nicolas Le Messurier	Won

Documentary [edit]

A documentary was produced about the making of Pink Floyd – The Wall entitled The Other Side of the Wall that includes interviews with Parker, Scarfe, and clips of Waters; it originally aired on MTV in 1982. A second documentary almost the film was produced in 1999 entitled Retrospective: Looking Back at The Wall that includes interviews with Waters, Parker, Scarfe, and other members of the film's product team. Both are featured on The Wall DVD as extras.

Soundtrack [edit]

Pinkish Floyd – The Wall
Soundtrack album past Pink Floyd
Released	Unreleased
Recorded	1981–1982
Genre	Progressive rock
Pink Floyd soundtracks chronology
Obscured by Clouds (1972) Pink Floyd – The Wall (Unreleased) La Carrera Panamericana (1992)
Singles from Pink Floyd – The Wall
"When the Tigers Broke Free" Released: 26 July 1982

The film soundtrack contains near songs from the album, admitting with several changes, as well equally additional material (see table below).

The only songs from the album non used in the film are "Hey Yous" and "The Show Must Proceed". "Hey Yous" was deleted as Waters and Parker felt the footage was besides repetitive (eighty percent of the footage appears in montage sequences elsewhere)^[15] merely a workprint version of the scene is included every bit a bonus characteristic on the DVD release.^[34]

A soundtrack anthology from Columbia Records was listed in the picture show's end credits, simply only a single containing "When the Tigers Broke Free" and the rerecorded "Bring the Boys Back Home" were released. "When the Tigers Broke Free" later became a bonus rail on the 1983 album The Final Cut. Guitarist David Gilmour dismissed the album as a collection of songs that had been rejected for The Wall project, but were being recycled. The song, in the edit used for the single, as well appears on the 2001 compilation album Echoes: The Best of Pink Floyd.

Changes on the soundtrack anthology:

Song	Changes
"When the Tigers Bankrupt Free" 1	New song, edited into ii sections strictly for the movie, merely afterwards released as ane continuous song.[35] The song was released every bit a single in 1982 and was later included on the 2001 compilation Echoes: The Best of Pink Floyd and on the 2004 re-release of The Final Cut.
"In the Flesh?"	Extended/re-mixed/lead vocal re-recorded by Geldof.[35]
"The Thin Ice"	Extended/re-mixed[35] with boosted piano overdub in second verse, baby sounds removed.
"Another Brick in the Wall, Role ane"	Actress bass parts, which were muted on the anthology mix, tin can be heard.
"When the Tigers Broke Gratis" ii	New song.[35]
"Cheerio Bluish Heaven"	Re-mixed.[35]
"The Happiest Days of Our Lives"	Re-mixed. Helicopter sounds dropped, instructor'south lines re-recorded past Alex McAvoy.[35]
"Another Brick in the Wall, Part ii"	Re-mixed[35] with actress lead guitar, children's chorus edited and shortened, teacher'due south lines re-recorded by McAvoy and interspersed within lines of children'southward chorus.
"Mother"	Re-recorded completely with exception of guitar solo and its backing track. The lyric "Is it just a waste of time?" is replaced with "Mother, am I really dying?", which is what appeared on the original LP lyric canvass.[35]
"What Shall Nosotros Do At present?"	A total-length song which begins with the music of, and a like lyric to, "Empty Spaces". This was intended to exist on the original album, and in fact appears on the original LP lyric sheet. At the last infinitesimal, it was dropped in favour of the shorter "Empty Spaces" (which was originally intended as a reprise of "What Shall Nosotros Do Now?"). A alive version is on the album Is There Anybody Out In that location? The Wall Live 1980–81.[35]
"Young Animalism"	Screams added and telephone call removed. The phone telephone call was moved to the beginning of "What Shall We Practice Now?".
"1 of My Turns"	Re-mixed. Groupie's lines re-recorded by Jenny Wright.
"Don't Get out Me Now"	Shortened and remixed.
"Another Brick in the Wall, Part iii"	Re-recorded completely[35] with a slightly faster tempo.
"Cheerio Cruel Globe"	Unchanged.
"Is At that place Anybody Out In that location?"	Classical guitar re-recorded, this time played with a leather selection past guitarist Tim Renwick,[36] as opposed to the album version, which was played finger-way by Joe DiBlasi.
"Nobody Home"	Musically unchanged, just with dissimilar clips from the Television set set.
"Vera"	Unchanged.
"Bring the Boys Back Home"	Re-recorded completely with brass band and Welsh male person vocal choir extended and without Waters' lead vocals.[23]
"Comfortably Numb"	Re-mixed with Geldof's screams added. Bass line partially different from anthology.
"In the Flesh"	Re-recorded completely with brass band and Geldof on pb vocals.[35]
"Run Like Hell"	Re-mixed and shortened.
"Waiting for the Worms"	Shortened simply with extended coda.
"v:11 AM (The Moment of Clarity)"/"Your Possible Pasts"/"Stop"	"Stop" re-recorded completely[35] with Geldof unaccompanied on vocals. The offset two songs are taken from The Pros and Cons of Hitch Hiking, a concept album Waters wrote simultaneously with The Wall, and afterwards recorded solo; and The Last Cutting, a 1983 Pinkish Floyd album. "Your Possible Pasts" was a song originally intended for The Wall that later appeared on The Concluding Cut.
"The Trial"	Re-mixed with longer instrumental intro, and audition cheering sounds added.
"Outside the Wall"	Re-recorded completely[35] with contumely band and Welsh male person voice choir. Extended with a musical passage similar to "Southampton Dock" from The Terminal Cut.[37] [38]

In addition to the above, Vera Lynn'due south rendition of "The Little Boy That Santa Claus Forgot" was used as background music during the opening scenes.^{[39] [40]}

Nautical chart positions

Year	Chart	Position
2005	Australian ARIA DVD Chart	#x

Certifications [edit]

References [edit]

1. ^ ^{a b} "PINK FLOYD - THE WALL (AA)". British Board of Motion-picture show Nomenclature. 23 June 1982. Archived from the original on 5 March 2016. Retrieved 16 Baronial 2015.
2. ^ BRITISH Product 1981 Moses, Antoinette. Sight and Sound; London Vol. 51, Iss. iv, (Fall 1982): 258.
3. ^ ^{a b} Box Office Information for Pinkish Floyd – The Wall. Archived 9 December 2020 at the Wayback Auto Box Office Mojo. Retrieved ane January 2014.
4. ^ Curtis, James M. (1987). Rock Eras: Interpretations of Music and Order, 1954–1984. Pop Press. p. 283. ISBN0-87972-369-6. Archived from the original on xxx Apr 2016. Retrieved 27 February 2016.
5. ^ Reisch, George A. (2007). Pink Floyd and Philosophy: Careful With That Axiom, Eugene!. Open Court Publishing Company. pp. 76–77. ISBN978-0-8126-9636-three. Archived from the original on 1 January 2014. Retrieved 10 July 2013.
6. ^ Reisch, George A. (2009). Radiohead and philosophy. Open Court Publishing Company. p. 60. ISBN978-0-8126-9700-1. Archived from the original on 1 January 2014. Retrieved 10 July 2013.
7. ^ Schaffner, Nicholas. Saucerful of Secrets. Dell Publishing. p. 225.
8. ^ ^{a b c} J.C. Maçek 3 (five September 2012). "The Cinematic Experience of Roger Waters' 'The Wall Live'". PopMatters. Archived from the original on 11 November 2020. Retrieved 29 Nov 2020.
9. ^ Schaffner, Nicholas. Saucerful of Secrets. Dell Publishing. p. 244.
10. ^ Schaffner, Nicholas. Saucerful of Secrets. Dell Publishing. pp. 244–245.
11. ^ Schaffner, Nicholas. Saucerful of Secrets. Dell Publishing. pp. 245–246.
12. ^ Schaffner, Nicholas. Saucerful of Secrets. Dell Publishing. p. 246.
13. ^ Pink Floyd'south The Wall, page 83
14. ^ Pinkish Floyd's The Wall, page 105
15. ^ ^{a b} Pinkish Floyd'southward The Wall, page 118
16. ^ "Interview: Gerald Scarfe". Floydian Slip. v–7 November 2010. Archived from the original on xvi July 2016. Retrieved 22 June 2016.
17. ^ ^{a b} Pink Floyd's The Wall, page 129
18. ^ Geldof, Bob. Is That It?. Weidenfeld & Nicolson.
19. ^ Schaffner, Nicholas (1991). Saucerful of Secrets: The Pink Floyd Odyssey. Harmony Books. ISBN0-517-57608-2.
20. ^ Storm Thorgerson and Peter Curzon. Mind Over Thing: The Images of Pink Floyd. page 102. ISBN 1-86074-206-8.
21. ^ "Festival de Cannes – From 16 to 27 may 2012". Festival-cannes.com. Archived from the original on 19 January 2012. Retrieved vii January 2012.
22. ^ Scarfe, Gerald. The Making of Pink Floyd: The Wall. Da Capo Press. p. 216.
23. ^ ^{a b c} Mabbett, Andy (2010). Pink Floyd – The Music and the Mystery. London: Jitney. ISBN978-ane-84938-370-vii.
24. ^ Miles, Barry; Mabbett, Andy (1994). Pink Floyd: the Visual Documentary ([Updated ed.] ed.). London: Passenger vehicle Press. ISBN0-7119-4109-2.
25. ^ ^{a b} Ebert, Roger (24 Feb 2010). "Pink Floyd: The Wall (1982)". RogerEbert.com. Archived from the original on 13 November 2020. Retrieved xiv Apr 2021.
26. ^ "Pinkish Floyd - The Wall (1982)". Rotten Tomatoes. Archived from the original on nine January 2021. Retrieved 8 Baronial 2022.
27. ^ Danny Peary, Guide for the Film Fanatic (Simon & Schuster, 1986) p.331
28. ^ ^{a b c} "Past Winners and Nominees – Picture show – Awards". BAFTA. Archived from the original on xv October 2017. Retrieved 26 December 2010.
29. ^ "The Hammerskin Nation". Extremism in America. Anti-Defamation League. 2002. Archived from the original on eighteen August 2004.
30. ^ Gannon, Louise (17 April 2011). "Roger Waters: Another crack in the wall | The Lord's day Times". The Sunday Times. Archived from the original on 25 June 2018. Retrieved 25 Dec 2015.
31. ^ Schaffner, Nicholas (2005). "Pigs on the Fly". Saucerful of Secrets: The Pink Floyd Odyssey (New ed.). London: Helter Skelter. p. 219. ISBNi-905139-09-eight.
32. ^ Romero, Jorge Sacido; Cabo, Luis Miguel Varela (December 2006). "Roger Waters' Poetry of the Absent Father: British Identity in Pinkish Floyd'south "The Wall"". Atlantis. 28 (2): 45–58. JSTOR 41055246.
33. ^ Elliott, Paul (25 September 1999). "Going Down…". Kerrang!. p. 17.
34. ^ Pink Floyd's The Wall, page 128
35. ^ ^{a b c d e f g h i j k 50 m} Bench, Jeff (2004). Pink Floyd's The Wall. Richmond, Surrey, UK: Reynolds and Hearn. pp. 107–110p. ISBN1-903111-82-10.
36. ^ Marty Yawnick (28 June 2016). "Is In that location Anybody Out There? - Hear David Gilmour's version". The Wall Complete. Archived from the original on 21 June 2017. Retrieved 5 July 2017.
37. ^ Pink Floyd: The Wall (1980 Pink Floyd Music Publishers Ltd., London, England, ISBN 0-7119-1031-six [Us ISBN 0-8256-1076-one])
38. ^ Pink Floyd: The Concluding Cut (1983 Pink Floyd Music Publishers Ltd., London, England.)
39. ^ Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus. pp. 150p. ISBN0-7119-4301-X.
40. ^ Gonthier, Jr., David F.; O'Brien, Timothy M. (2015). The Films of Alan Parker, 1976–2003. Jefferson, North Carolina: McFarland & Co. p. 106. ISBN978-0786497256.
41. ^ "ARIA Charts – Accreditations – 2014 DVDs" (PDF). Australian Recording Manufacture Association. Retrieved 4 August 2021.
42. ^ "Brazilian video certifications – Pink Floyd – The Wall" (in Portuguese). Pro-Música Brasil. Retrieved 4 August 2021.
43. ^ "French video certifications – Pink Floyd – The Wall" (in French). Syndicat National de l'Édition Phonographique. Retrieved 4 August 2021.
44. ^ "Gold-/Platin-Datenbank (Pinkish Floyd;'The Wall')" (in German). Bundesverband Musikindustrie. Retrieved iv August 2021.
45. ^ "Le Cifre Di Vendita 2006 – DVD" (PDF) (in Italian). Federazione Industria Musicale Italiana. Archived from the original (PDF) on six January 2014. Retrieved four August 2021.
46. ^ "Wyróżnienia – Platynowe płyty DVD - Archiwum - Przyznane due west 2004 roku" (in Shine). Polish Order of the Phonographic Manufacture. Retrieved four August 2021.
47. ^ "Veckolista DVD Anthology – Vecka 35, 2013" (in Swedish). Sverigetopplistan. Archived from the original on 4 August 2021. Retrieved 4 August 2021.
48. ^ "British video certifications – Pink Floyd – The Wall". British Phonographic Industry. Retrieved 4 August 2021.

External links [edit]

• Pink Floyd – The Wall at IMDb
• Pink Floyd – The Wall at Box Function Mojo
• Pink Floyd – The Wall at Rotten Tomatoes
• A Consummate Analysis of Pink Floyd – The Wall by Bret Urick
• Original screenplay by Roger Waters

Source: https://en.wikipedia.org/wiki/Pink_Floyd_%E2%80%93_The_Wall

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