Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:00:06,340 --> 00:00:09,717
My name is Marc Brickman
and I wasthe production designer
2
00:00:09,885 --> 00:00:12,678
forthe Pink FIoyd
Division BellTour.
3
00:00:12,763 --> 00:00:16,098
My name is Mark Fisher
and I wasthe designer
4
00:00:16,308 --> 00:00:18,142
ofthe Division BellTour.
5
00:00:18,435 --> 00:00:21,062
I thinkthatwhatwetried
to accompIish in the beginning
6
00:00:21,271 --> 00:00:24,524
wasto create a...
7
00:00:24,733 --> 00:00:27,151
an environment in the stadium
8
00:00:27,361 --> 00:00:31,781
thatwouId accentuatethe music
that Pink FIoyd pIays
9
00:00:31,990 --> 00:00:36,536
and create an atmospherethatwouId
reaIIyencompassthewhoIe stadium,
10
00:00:36,745 --> 00:00:38,621
and thatwas reaIIythe goaI:
11
00:00:38,914 --> 00:00:40,540
to makethem Iargerthan Iife.
12
00:00:40,749 --> 00:00:44,293
And I thinkthefirst meeting
was probabIywith Marc Brickman,
13
00:00:44,461 --> 00:00:47,004
and atthat point, he'd aIready had
meetingswith the band.
14
00:00:47,172 --> 00:00:48,756
He cameto mewith a--
15
00:00:48,924 --> 00:00:52,468
an ideato create an arch
atthe end ofthe stadium,
16
00:00:52,636 --> 00:00:57,014
an arch which wasto be a kind of
entrancetunneI to anotherworld,
17
00:00:57,140 --> 00:01:00,851
sothatthewhoIething
ofthe band pIaying in this entrance
18
00:01:01,019 --> 00:01:05,731
was reaIIythe big ideafor
howthe showwas going to be, and...
19
00:01:05,941 --> 00:01:09,110
So, we started taIking
then about how it might be done.
20
00:01:09,236 --> 00:01:11,195
Then the process startswith the band
21
00:01:11,405 --> 00:01:14,949
and startswith theirmusic,
startswith meetings about,
22
00:01:15,075 --> 00:01:17,034
you know, what--
whatthey have in theirmind,
23
00:01:17,160 --> 00:01:18,744
whatthey'd Iiketo accompIish.
24
00:01:19,371 --> 00:01:23,207
And the processthen goes into
drawings, modeIs.
25
00:01:24,126 --> 00:01:28,713
Wethen move into construction,
rehearsaIs, and then we go on tour.
26
00:01:28,880 --> 00:01:32,550
Designing a-- a set
like Division Bell
27
00:01:32,759 --> 00:01:35,469
goesthrough reaIIyfourstages,
I guess.
28
00:01:35,721 --> 00:01:39,515
The big idea,
the design, the artdesign,
29
00:01:39,850 --> 00:01:41,934
the construction,
30
00:01:42,060 --> 00:01:45,563
and then thefiguring out
howtotouritwith thetouring crew.
31
00:01:45,689 --> 00:01:48,899
Thefirststages,
from the band's pointofview,
32
00:01:48,984 --> 00:01:53,195
and uItimateIythe pubIic's,
the most important, that'sthe idea.
33
00:01:53,322 --> 00:01:57,408
What isthe big ideafrom
which everything eIse is derived?
34
00:01:57,826 --> 00:02:01,829
As I recaII it-- itgot
settIed down prettyquickIy
35
00:02:01,997 --> 00:02:05,583
tothis big arch with a smaIIerroof
inside underneath
36
00:02:05,751 --> 00:02:07,752
and then thetwo PAtowers
37
00:02:07,878 --> 00:02:11,255
which eventuaIIy had the pigs in
atthetop, offtothe sides,
38
00:02:11,548 --> 00:02:14,550
and thewhoIething being
about200feetwide
39
00:02:14,718 --> 00:02:18,596
and the arch itseIfbeing
somewhere in the region of
40
00:02:18,722 --> 00:02:21,724
a hundred and twentyfeetwide
and eightyfeet high.
41
00:02:21,975 --> 00:02:23,517
My name's RobbieWiIIiams
42
00:02:23,685 --> 00:02:26,937
and I'm the Production Directorfor
the Pink FIoyd Division BellTour.
43
00:02:27,147 --> 00:02:30,274
The Production Director's roIe
is reaIIyto...
44
00:02:30,692 --> 00:02:34,528
takethetourfrom its sortof
initiaI inception with--
45
00:02:34,655 --> 00:02:35,946
from through the design stage
46
00:02:36,073 --> 00:02:38,407
taIking tothe designers
and the musicians
47
00:02:38,492 --> 00:02:40,409
aboutexactIywhattheywantto do,
48
00:02:40,827 --> 00:02:43,788
checking outwhich venues
we're proposing to pIay
49
00:02:43,914 --> 00:02:46,332
and making surethatthe show
thatgets designed
50
00:02:46,625 --> 00:02:51,379
can, A: fit in tovariousvenues,
obviousIyaIsofiII them,
51
00:02:51,505 --> 00:02:54,757
givethefansthe scaIe of
performancethat, you know,
52
00:02:54,883 --> 00:02:56,842
they've grown to
expectwith Pink FIoyd,
53
00:02:57,219 --> 00:03:00,137
butaIso, to make sure
that itcan be put up,
54
00:03:00,514 --> 00:03:03,724
performed on, and dismantIed
and moved tothe nextcity in time.
55
00:03:04,726 --> 00:03:06,811
Itthen goes intothe more detaiIed,
56
00:03:06,937 --> 00:03:08,979
"Okay, this iswhere
the engineers come in
57
00:03:09,147 --> 00:03:11,273
and weworkout
exactIy howwe're gonna buiId it."
58
00:03:11,358 --> 00:03:13,776
This iswherethe peopIe
whowiII do production drawings
59
00:03:14,027 --> 00:03:17,321
forcutting steeI,
formaking things, come in.
60
00:03:17,531 --> 00:03:20,199
And itgoes into a buiIding stage
61
00:03:20,283 --> 00:03:22,910
which invoIves
an ever-increasing numberofpeopIe.
62
00:03:23,161 --> 00:03:26,789
So, the idea isthatthe equipment
thattakesthe Iongestto set up,
63
00:03:26,873 --> 00:03:29,542
which isthe staging
and the stadium preparation,
64
00:03:29,751 --> 00:03:32,211
you havetwo orthree sets ofthat,
65
00:03:32,379 --> 00:03:34,922
which can Ieapfrog around each other.
66
00:03:35,006 --> 00:03:39,719
So, atanyonetime, there'II be one
stage being buiIt in one city,
67
00:03:39,845 --> 00:03:42,054
one being performed
upon in anothercity,
68
00:03:42,222 --> 00:03:43,848
and then in the Iastcityyou're in,
69
00:03:44,015 --> 00:03:47,059
there'II be one being dismantIed
readyto be moved on.
70
00:03:47,310 --> 00:03:51,355
And thenjustone setofthe sortof
band equipment, the sound and Iights,
71
00:03:51,523 --> 00:03:53,524
which does actuaIIygoto everyshow.
72
00:03:53,734 --> 00:03:56,193
Ifyou were standing on the stage
as a memberofthe band,
73
00:03:56,319 --> 00:03:58,487
in frontofyou, out in the house,
74
00:03:58,655 --> 00:04:03,325
you had the mix position, which
was awonderfuI baroque structure.
75
00:04:03,410 --> 00:04:08,164
It had sIiding roofs on it, it had a
IeveI forthe--forthe PA mixing,
76
00:04:08,248 --> 00:04:11,250
it had a IeveI forthe band guests
with its own terrace
77
00:04:11,334 --> 00:04:15,880
and, ofcourse, a bardownstairs
with-- awet barwith refrigerators.
78
00:04:16,006 --> 00:04:18,924
Behind you overyourhead,
you had a roofette
79
00:04:19,593 --> 00:04:21,927
which had thesefingers
which had Iights on.
80
00:04:22,137 --> 00:04:25,765
Furtherbehind you on thefloor
wasthe big circuIarscreen
81
00:04:25,932 --> 00:04:28,184
with Iights aII around it
and expIosives mounted
82
00:04:28,310 --> 00:04:30,895
forthe momentatthe end ofthe show
when thewhoIe screen bIew up.
83
00:04:31,062 --> 00:04:35,024
Each ofthethree staging teams
was probabIy 12 peopIe
84
00:04:35,192 --> 00:04:38,778
thatwouId be suppIemented with
an armyofIocaI heIpers
85
00:04:38,904 --> 00:04:40,446
and scaffoIders, and riggers,
86
00:04:40,614 --> 00:04:43,324
which wouId probabIy be
sortof50 or60 peopIe.
87
00:04:43,450 --> 00:04:45,409
And then when the main team
had arrived,
88
00:04:45,494 --> 00:04:47,369
which wouId be about
anotherhundred peopIe,
89
00:04:47,454 --> 00:04:51,123
once again, they'd be suppIemented
byanotherarmyofIocaI heIpers.
90
00:04:51,333 --> 00:04:53,083
Wethen have a sound crew,
91
00:04:53,251 --> 00:04:56,212
various Iighting crews
thatcomefrom thevarious companies
92
00:04:56,338 --> 00:04:58,255
thatsuppIythe different
Iighting eIements,
93
00:04:58,423 --> 00:05:00,424
the pyrotechnics crew,
94
00:05:00,634 --> 00:05:03,135
speciaIistcarpenters, and engineers
95
00:05:03,220 --> 00:05:05,346
thatoperatethings
Iikethe mirrorbaII,
96
00:05:05,639 --> 00:05:08,849
and the actuaI buiIding
ofthe performance stage.
97
00:05:09,142 --> 00:05:11,769
We have ateam ofsite coordinators
98
00:05:11,978 --> 00:05:14,355
who aIwaystraveI ahead
ofeverybodyeIse
99
00:05:14,439 --> 00:05:16,315
and make surethateach city is ready
100
00:05:16,608 --> 00:05:18,651
sothatwhen the
staging trucks roII in,
101
00:05:18,735 --> 00:05:20,569
we're readyto, you know, usethem,
102
00:05:20,654 --> 00:05:22,404
and aII thevarious
IocaI infrastructure
103
00:05:22,489 --> 00:05:24,573
thatwe need hasto be in pIace.
104
00:05:24,699 --> 00:05:28,661
Myapproach to Iighting design
aIways has been to dramaticaIIy
105
00:05:28,787 --> 00:05:33,916
trytoteII the story
in Iighting, you know,
106
00:05:34,125 --> 00:05:36,418
by using darkness as a base.
107
00:05:36,753 --> 00:05:39,088
So, the Iighting
design's aIways about...
108
00:05:40,215 --> 00:05:42,716
aboutaccentuating the music
109
00:05:42,801 --> 00:05:46,220
and peopIe can foIIow, you know,
the instrumentsthatare pIaying,
110
00:05:46,304 --> 00:05:48,973
and what's going on,
and visuaIIy painting with Iight.
111
00:05:49,391 --> 00:05:53,978
The main Iightsthatwe used in
the showwere oftwo kinds.
112
00:05:54,104 --> 00:05:58,065
Therewere Iightsthatcamefrom
VariҗLite, which is based in DaIIas,
113
00:05:58,400 --> 00:06:01,819
and Iightsthatcamefrom TeIescan
which is a French company.
114
00:06:01,903 --> 00:06:04,280
The TeIescan Iights
were mostIy Iights
115
00:06:04,364 --> 00:06:06,031
ofa kind ofthat
have moving mirrors.
116
00:06:06,116 --> 00:06:09,827
You have a Iight-- Iump ofIight
and itsends a beam outone end
117
00:06:09,953 --> 00:06:12,037
and has a mirrorthatcan be moved.
118
00:06:12,163 --> 00:06:16,500
TheytypicaIIy produce
averytight bright beam,
119
00:06:16,626 --> 00:06:20,004
and the object is unusuaI,
reIativeIyspeaking,
120
00:06:20,130 --> 00:06:22,131
becausethe Iightcomes out
ata rightangIe
121
00:06:22,215 --> 00:06:24,091
tothe main direction ofthe object,
122
00:06:24,175 --> 00:06:26,510
so you're aIwaystrying to kind
ofpush it up againstthings.
123
00:06:26,720 --> 00:06:30,222
AII right. The Iighting
design incIuded TeIescans,
124
00:06:30,307 --> 00:06:31,932
which is a French-based Iight.
125
00:06:32,058 --> 00:06:35,686
We had TeIescan projectors, which--
We had five ofthose,
126
00:06:35,854 --> 00:06:40,858
which were avery high-end stiII
fiIm projectorthat had scroIIers
127
00:06:40,942 --> 00:06:44,320
thataIIowed imagesjustgo scroIIing
acrossthefrontofthe stage.
128
00:06:44,446 --> 00:06:46,947
And aIso, we incorporated
one ofthose projectors
129
00:06:47,073 --> 00:06:51,368
as an oiI-based Iiquid Iightshow
in athrowbacktothe '60s.
130
00:06:51,578 --> 00:06:53,829
And we aIso had numerousVariҗLites.
131
00:06:53,997 --> 00:06:55,998
probabIy-- I think in Earl's Court
132
00:06:56,249 --> 00:06:59,627
therewere probabIy, I think,
around 150VariҗLites.
133
00:06:59,920 --> 00:07:03,923
We aIso had some
speciaIIy-made DIALux,
134
00:07:04,424 --> 00:07:05,758
Dave's request,
135
00:07:06,092 --> 00:07:09,386
which reIeased 2500-watt HMI
high-speed coIourwheeIs
136
00:07:09,471 --> 00:07:13,766
that Dave used to stare into
during the performance
137
00:07:13,850 --> 00:07:15,142
when he's pIaying guitarsoIos.
138
00:07:15,435 --> 00:07:17,186
Theywerevery incredibIy bright.
139
00:07:17,270 --> 00:07:19,188
They Iook--
Big coIourwheeIs, reaIIy.
140
00:07:19,773 --> 00:07:21,649
Thatwas-- Thatwas his creation.
141
00:07:22,442 --> 00:07:25,945
Atthefrontofthe stage
just beIowthe band'sfeet
142
00:07:26,279 --> 00:07:28,822
and running across
thewhoIe ofthefrontofthe arch
143
00:07:29,032 --> 00:07:33,827
were a series of... units,
144
00:07:33,995 --> 00:07:36,372
each containing Periaktoi,
145
00:07:36,456 --> 00:07:41,126
which are mostoften found
in advertising hoardings
146
00:07:41,211 --> 00:07:43,253
where you seethese
advertising hoardings
147
00:07:43,338 --> 00:07:44,755
made up oftrianguIarprisms
148
00:07:44,839 --> 00:07:47,508
which can flip round,
sothey havethreefaces.
149
00:07:47,676 --> 00:07:48,717
We had a bIackface,
150
00:07:48,802 --> 00:07:51,303
which iswhatthe audience saw
when theyfirstcame in,
151
00:07:51,805 --> 00:07:56,266
a mirrorfacewhich wasthere
when wewanted to use it
152
00:07:56,351 --> 00:07:59,061
to dazzIethe audience
with reflected Iight
153
00:07:59,187 --> 00:08:00,771
and aIso athird face,
154
00:08:01,064 --> 00:08:04,775
which had taken overaII
ofthe paneIstogether,
155
00:08:05,026 --> 00:08:08,862
overathousand
individuaI channeIs ofspotIights,
156
00:08:09,114 --> 00:08:12,241
PAR 56 spotIights,
with very narrow beams
157
00:08:12,701 --> 00:08:17,079
which we couId programme sothatwe
couId make a matrixofmoving Iights,
158
00:08:17,163 --> 00:08:20,791
we couId makewordsthatwouId run
across Iike a giantteIecasterboard.
159
00:08:21,292 --> 00:08:23,460
We couId make aII kinds ofpatterns.
160
00:08:23,670 --> 00:08:26,463
So, thesethings couId roII,
theywere rigged horizontaIIy.
161
00:08:26,548 --> 00:08:27,965
TheycouId roII round.
162
00:08:28,174 --> 00:08:31,176
And atthe cIimaxofthe show
theyspin continuousIy
163
00:08:31,344 --> 00:08:33,762
and you seethat
reaIIycIearly in thevideo
164
00:08:34,014 --> 00:08:38,726
with the Iight beams bursting out
overthe audience asthey revoIved.
165
00:08:39,060 --> 00:08:42,896
We aIso, atthefrontofthe stage,
had athousand PAR46 Iights
166
00:08:43,023 --> 00:08:45,441
thatspun, you know,
and in "Run Like HeII",
167
00:08:45,525 --> 00:08:48,318
thatwas aIways onethe bestcues
when theywouId startspinning,
168
00:08:48,403 --> 00:08:51,030
and it Iooked Iiketheworld
was coming to an end.
169
00:08:51,614 --> 00:08:53,741
The Iast-- ObviousIyatthe end
of"Run Like HeII"
170
00:08:53,825 --> 00:08:57,786
every-- itwasthe, you know,
the parodyofthe rockshow
171
00:08:57,871 --> 00:09:01,749
and we definiteIy
hitthat numberin that.
172
00:09:01,916 --> 00:09:04,626
And sothose Iights,
that--thatwhoIe scene
173
00:09:04,794 --> 00:09:06,128
aIwayswas--was prettystunning.
174
00:09:06,296 --> 00:09:10,382
But, Iook, I keyed aII the musicians
with TeIescan Iights,
175
00:09:10,550 --> 00:09:12,551
sothateverybody had a key Iight,
176
00:09:12,802 --> 00:09:14,803
sothat, reaIIy,
theyaII popped outas a unit.
177
00:09:15,096 --> 00:09:18,432
Theywere aIwaysvisibIe, peopIe
couId aIways seewhowas pIaying.
178
00:09:18,516 --> 00:09:21,101
ObviousIy, David had foIIowspots...
179
00:09:22,145 --> 00:09:25,272
and, you know, and the singers,
whenevertheydid theirbackups,
180
00:09:25,398 --> 00:09:26,899
we used somefoIIowspots
butthe main--
181
00:09:26,983 --> 00:09:30,611
the main Iighting was reaIIythese
TeIescan Iightsto keyeverybody,
182
00:09:30,695 --> 00:09:33,530
sothat insidethe picture,
insidetheframe,
183
00:09:33,656 --> 00:09:36,742
you IiteraIIycouId paintwith Iight
and foIIowthe music.
184
00:09:36,910 --> 00:09:39,703
And not in aflashing way,
but in a much more dramaticway,
185
00:09:39,788 --> 00:09:44,124
we reaIIywere mouIding
and-- and cross-fading coIour,
186
00:09:44,375 --> 00:09:47,002
sothatyou-- as Iong
astheystayed constant,
187
00:09:47,087 --> 00:09:49,338
the musician stayed constant
in the key Iight,
188
00:09:50,215 --> 00:09:52,091
aII the effects around
them couId happen.
189
00:09:53,176 --> 00:09:55,761
With the FIoyd,
the position ofthe band's on--
190
00:09:55,845 --> 00:09:59,389
the members ofthe band on stage
isvery important,
191
00:09:59,474 --> 00:10:02,267
and I worked with PhiI TayIor
tofigurethatout.
192
00:10:02,393 --> 00:10:04,103
Theywere in rehearsaI
193
00:10:04,312 --> 00:10:07,731
and I was going down
and measuring thingswith PhiI,
194
00:10:07,816 --> 00:10:10,234
going tothewarehouse
wherethe equipmentwas stored,
195
00:10:10,318 --> 00:10:13,153
and weworked thewhoIething out
in greatdetaiI.
196
00:10:13,321 --> 00:10:17,116
MainIy becausewewanted totry
and keepthe band verycompact
197
00:10:17,283 --> 00:10:20,536
and it's notthe kind ofband
where peopIe are running around.
198
00:10:20,620 --> 00:10:22,329
Whatwewanted to do
was reaIIygetthem
199
00:10:22,413 --> 00:10:24,248
as cIosetothe audience aswe couId.
200
00:10:25,625 --> 00:10:26,875
I'm PhiI TayIor.
201
00:10:27,585 --> 00:10:31,755
Myjob on thetourwasthe
Pink FIoyd's backIine crewchief,
202
00:10:31,840 --> 00:10:34,424
which more specificaIIy means
203
00:10:34,592 --> 00:10:38,971
that I Iookafterand am responsibIe
forthe band's equipmenton stage,
204
00:10:39,389 --> 00:10:43,308
and even more specificaIIy, David
GiImour's guitars and his equipment.
205
00:10:43,643 --> 00:10:45,644
His main working guitar
206
00:10:45,937 --> 00:10:48,522
formostofthe songs
where he's pIaying eIectricguitar
207
00:10:48,690 --> 00:10:52,776
is a red '57
Vintage Reissue Stratocaster,
208
00:10:53,236 --> 00:10:56,238
which has been
fitted with EMG pickups
209
00:10:56,781 --> 00:11:00,200
and SPC and EXG tone controIs.
210
00:11:00,326 --> 00:11:03,745
That's his main workhorse
that he usesfora Iotofthe stuff.
211
00:11:03,997 --> 00:11:08,000
In addition tothat, he has
a coupIe of'52 TeIecasters...
212
00:11:08,793 --> 00:11:12,171
with a sIightdifferenttuning, one
which he usesfor"Astronomy Domine",
213
00:11:12,297 --> 00:11:14,047
and onewith a bottom
string tuned down
214
00:11:14,132 --> 00:11:16,008
to D which he
usesfor"Run Like HeII".
215
00:11:16,885 --> 00:11:20,762
AIso, there are a coupIe of
Iap steeI guitars,
216
00:11:21,139 --> 00:11:22,848
again, with differenttunings,
217
00:11:23,349 --> 00:11:27,811
which are used, forexampIe, on
"One ofThese Days" and "High Hopes".
218
00:11:28,521 --> 00:11:31,523
I'm AndyJackson, I was
sound engineeron the PulseTour.
219
00:11:31,774 --> 00:11:34,568
Myjob istotakefeeds
ofaII the signaIs
220
00:11:34,652 --> 00:11:36,361
from aII the instruments on stage
221
00:11:36,446 --> 00:11:39,990
and so on, and bring them together
into a mixing consoIe
222
00:11:40,241 --> 00:11:43,535
from where I can controI
the sound coIoursthere,
223
00:11:43,661 --> 00:11:44,745
controI the IeveIs,
224
00:11:44,913 --> 00:11:48,081
and bring itaII together
intothe sound picturethatyou hear.
225
00:11:48,208 --> 00:11:50,584
I haveto mention CoIin NorfieId
and Dave Lohr
226
00:11:50,668 --> 00:11:54,087
whoworked with me on that,
doing differentaspects ofthe sound
227
00:11:54,172 --> 00:11:57,925
and as ateam,
we madewhatyou heard that night.
228
00:11:59,886 --> 00:12:02,846
Pink FIoyd have aIways spent
a Iotoftime and money
229
00:12:02,931 --> 00:12:06,850
making surethatthe sound system
they use is, you know, thefinest.
230
00:12:07,852 --> 00:12:10,812
And there's-- There are basicaIIy
two sound systemsthatwe use.
231
00:12:10,897 --> 00:12:12,856
One is a basicstereo PAsystem
232
00:12:12,982 --> 00:12:16,485
which is in the conventionaI
positions eitherside ofthe stage.
233
00:12:16,819 --> 00:12:18,654
Thiswas one ofthefirst big tours
234
00:12:18,738 --> 00:12:21,031
outforthe Turbosound
FIashIightsystem
235
00:12:21,115 --> 00:12:23,533
which was a great heIpto us,
it's averygood system.
236
00:12:23,618 --> 00:12:26,578
Itwas a hugejumpforward from
anything that had been around before.
237
00:12:26,663 --> 00:12:29,039
In someways,
itsounds Iike a big Hi-Fi.
238
00:12:29,123 --> 00:12:30,582
Itdoesn't behave Iike a big Hi-Fi
239
00:12:30,667 --> 00:12:32,084
but it hasthat
kind ofquaIity, it's--
240
00:12:32,252 --> 00:12:34,503
You don'tfeeI Iike you'refighting
againstthe PA.
241
00:12:34,671 --> 00:12:37,798
ItfeeIs Iike it'sverycIean,
very, very neutraI.
242
00:12:37,966 --> 00:12:39,967
One ofthe principIes,
as best I understand it,
243
00:12:40,051 --> 00:12:42,344
isthatessentiaIIy,
whereveryou are in the haII
244
00:12:42,428 --> 00:12:45,180
you're Iistening to one speaker
cabinet, notawhoIe bunch ofthem,
245
00:12:45,265 --> 00:12:46,848
sothey behaveveryweII.
246
00:12:46,975 --> 00:12:49,142
TheyaIways getaveryeven sound
around the haII
247
00:12:49,310 --> 00:12:51,770
and itcertainIywas
a great heIpto us,
248
00:12:51,854 --> 00:12:53,438
itwas avery nice system toworkon.
249
00:12:53,856 --> 00:12:58,568
And then theyaIso have a quad--
whattheycaII a quad sound system
250
00:12:58,695 --> 00:13:02,155
which is actuaIIythreefurther
stacks ofspeakers,
251
00:13:02,240 --> 00:13:05,325
onewhich is in the middIe at
the back behind the audience,
252
00:13:05,576 --> 00:13:08,412
and then there's afurtherstack
on eitherside ofthe audience.
253
00:13:08,788 --> 00:13:09,913
Which actuaIIy, in someways,
254
00:13:10,039 --> 00:13:13,333
is a much more intuitiveway
ofthinking about it.
255
00:13:13,418 --> 00:13:16,128
You thinkofthings as being
in frontofyou, orbehind you,
256
00:13:16,254 --> 00:13:17,963
ortothe Ieft, ortothe right.
257
00:13:18,214 --> 00:13:21,633
And we couId take any particuIar
source and feed it into ajoystick,
258
00:13:21,801 --> 00:13:23,927
which wouId aIIow usto actuaIIy
position thatsound anywhere,
259
00:13:24,053 --> 00:13:26,513
oreven have itflyaround
the room aswe pIeased,
260
00:13:26,639 --> 00:13:27,848
which was aIways greatfun.
261
00:13:27,932 --> 00:13:32,227
Which enabIesthem to pan
guitarsoIos and the Iike
262
00:13:32,395 --> 00:13:35,564
around the audience
and aIso, tofeed the sound effects,
263
00:13:35,773 --> 00:13:38,734
so ifyou've gota running man
sound effect,
264
00:13:38,818 --> 00:13:41,236
orwaterrunning,
itcan be, you know,
265
00:13:41,404 --> 00:13:43,447
aII thewayaround the outside
ofthe audience,
266
00:13:43,614 --> 00:13:45,490
giving afarmore
sortofspatiaI effect.
267
00:13:46,451 --> 00:13:48,910
David, on atrack
caIIed "Keep TaIking",
268
00:13:49,287 --> 00:13:51,872
used a unit--weII, made by HeiI
269
00:13:51,998 --> 00:13:57,336
caIIed avoice boxwhich consists
ofa poIythenetube
270
00:13:57,587 --> 00:14:00,964
which is run upthe micstand,
positioned nexttothe microphone,
271
00:14:01,174 --> 00:14:03,383
and actuaIIy,
then pIace it in theirmouth,
272
00:14:03,593 --> 00:14:06,720
sothe guitarsound
goesto an ampIifier,
273
00:14:07,096 --> 00:14:10,599
intothevoice box itseIf,
upthetube intotheirmouth,
274
00:14:10,725 --> 00:14:14,436
and then by manipuIating theirmouth,
the guitarsound comesfrom that,
275
00:14:14,604 --> 00:14:16,104
and intothevocaI microphone.
276
00:14:17,106 --> 00:14:20,275
We mixed the showon Yamaha boards.
277
00:14:20,360 --> 00:14:21,902
CoIin had the drums and bass,
278
00:14:21,986 --> 00:14:23,320
I had aII thetop Iine instruments,
279
00:14:23,404 --> 00:14:25,364
Dave had spIitsfrom
some ofthosethings
280
00:14:25,573 --> 00:14:27,532
and aII thetapes
and stuffforthe quads.
281
00:14:27,742 --> 00:14:30,452
I thinkthe importantthing reaIIy
istotryand keep itsimpIe
282
00:14:30,536 --> 00:14:31,953
and concentrate
on the importantthings
283
00:14:32,038 --> 00:14:34,247
and the important
thing isthe baIance,
284
00:14:34,374 --> 00:14:36,333
can you hearthe guy
you're supposed to be hearing
285
00:14:36,501 --> 00:14:38,210
atthat particuIartime? You know.
286
00:14:38,378 --> 00:14:40,921
Ifit's-- Ifthe guy is singing,
you wanna hearthat.
287
00:14:41,047 --> 00:14:42,881
If-- Ifit's a soIo,
you wanna hearthat.
288
00:14:42,965 --> 00:14:45,509
That'swhat importantatthattime,
just keep itsimpIe.
289
00:14:45,676 --> 00:14:48,887
[PhiI TayIor] Rick's keyboard rig
iswhatyou wouId caII
290
00:14:49,639 --> 00:14:54,559
pretty basic, in that he pIayed
mainIy Hammond organ, grand piano,
291
00:14:54,727 --> 00:14:56,061
and some synth stuff.
292
00:14:56,479 --> 00:14:58,647
Jon's setupwas a much more
compIexaffair
293
00:14:58,856 --> 00:15:01,525
with a sequencer
and various sound moduIes
294
00:15:01,692 --> 00:15:04,319
thatenabIed him
to create sound washes
295
00:15:04,445 --> 00:15:07,823
and atmospherics
and pIayotherspecific parts.
296
00:15:08,241 --> 00:15:12,202
Guy's bass setup, firstofaII he
used fourdifferentguitars,
297
00:15:12,328 --> 00:15:15,622
a Precision bass, a Jazz bass,
both made by Fender,
298
00:15:15,915 --> 00:15:19,126
a Status bass, which was a
five-string, and a Spector.
299
00:15:20,795 --> 00:15:24,005
ThesewouId be pIugged into
a Trace EIIiot preamp
300
00:15:24,090 --> 00:15:27,008
which had different pre-sets on
forthe different IeveIs
301
00:15:27,093 --> 00:15:29,344
and different EQ
settings ofeach bass
302
00:15:29,637 --> 00:15:32,848
to enabIe his onstage sound
to remain constant.
303
00:15:33,057 --> 00:15:36,184
Nickand Gary both used
Drum Workshop kits.
304
00:15:36,394 --> 00:15:40,522
The originaI ideawas
thattheysaton one riser
305
00:15:40,648 --> 00:15:43,316
and Iooked Iike one big drum kit
with two peopIe pIaying it,
306
00:15:43,401 --> 00:15:47,904
sotheyordered the same coIour
tofaciIitatethat.
307
00:15:48,156 --> 00:15:50,323
However, the reaIity
when we got iton stagewas
308
00:15:50,450 --> 00:15:52,451
that it Iooked Iiketwo drum kits.
309
00:15:52,952 --> 00:15:56,580
We used someverystate-of-the-art
Iaserequipment
310
00:15:56,747 --> 00:15:59,708
thatcamethrough Oxford Lasers
in EngIand.
311
00:15:59,917 --> 00:16:02,294
CopperVapourwasthetitIe ofthem,
312
00:16:02,462 --> 00:16:04,337
which gave a much broaderbeam
313
00:16:04,464 --> 00:16:06,798
and we've aII seen Iasers
in manyshows before
314
00:16:06,966 --> 00:16:10,886
which are usuaIIytraditionaIIy
sortofgreen, orbIue, orred.
315
00:16:11,929 --> 00:16:14,264
These particuIarIasers
gave a particuIarlywide
316
00:16:14,390 --> 00:16:16,600
and incredibIy brightorange beam.
317
00:16:16,726 --> 00:16:19,769
Very high-powered Iasers, Iasers
that reaIIy have onIy been used
318
00:16:19,979 --> 00:16:22,939
with thistour,
and theywere used to spIit isotopes,
319
00:16:23,149 --> 00:16:25,901
Thatwastheirmain purpose in Iife,
theycamefrom the miIitary.
320
00:16:26,277 --> 00:16:28,987
Everyevening, we'd have
to getcIearancefrom the FAA
321
00:16:29,113 --> 00:16:30,447
when we pIayed in America,
322
00:16:30,573 --> 00:16:34,659
sothatwe didn'tget
in theflight path ofoncoming--
323
00:16:34,785 --> 00:16:37,037
incoming pIanes at
some ofthe airports
324
00:16:37,121 --> 00:16:38,622
when we--when we
pIayed the stadiums.
325
00:16:38,789 --> 00:16:42,584
I Ioved the Iasersjust because of
how beautifuI the goId coIourwas.
326
00:16:42,752 --> 00:16:44,669
I thinkthe Iasers reaIIy--
327
00:16:44,837 --> 00:16:47,255
using them in an architecturaI way
in a manner
328
00:16:47,590 --> 00:16:50,467
wherewe defined space
which wasvery powerfuI.
329
00:16:51,177 --> 00:16:54,429
The circuIarscreen was42 feetwide,
330
00:16:54,597 --> 00:17:00,310
with a 70-miIIimetre projectorbehind
the inflated backwaII,
331
00:17:00,645 --> 00:17:03,980
and itwas used forprojection
ofthefiIms
332
00:17:04,148 --> 00:17:05,941
that Storm Thorgerson had made.
333
00:17:06,108 --> 00:17:08,485
My name is Storm, Storm Thorgerson
334
00:17:08,694 --> 00:17:12,405
and I am the director
ofthe screen fiIms.
335
00:17:12,907 --> 00:17:15,367
The FIoyd circuIarscreen,
336
00:17:15,618 --> 00:17:18,411
which is usuaIIy
in the middIe ofthe stage,
337
00:17:18,538 --> 00:17:20,747
and easyformost peopIeto see,
338
00:17:22,416 --> 00:17:27,754
is, in part, a specific FIoyd thing
that I thinktheydid first.
339
00:17:27,964 --> 00:17:32,384
AIso, it, I think, aIIowsfora
different kind ofcomposition.
340
00:17:32,468 --> 00:17:35,136
So, from the directoriaI end,
341
00:17:35,263 --> 00:17:38,598
it's quite interesting towork
fora circuIarscreen
342
00:17:38,724 --> 00:17:41,851
and actuaIIy, whatwe do
iswe puta IittIe circuIarmask
343
00:17:42,270 --> 00:17:45,355
insidetheviewer
on the camera, right,
344
00:17:45,523 --> 00:17:47,732
whetherit's--whether
we're shooting in tape orin fiIm,
345
00:17:47,900 --> 00:17:51,236
sothatwhatwe see
iswhatwe're gonna project.
346
00:17:51,487 --> 00:17:54,573
Moving the circuIarprojection screen
wastechnicaIIy
347
00:17:54,824 --> 00:17:57,242
quite compIicated
because itwasvery big,
348
00:17:57,868 --> 00:17:59,619
and we had to arrange it
349
00:17:59,745 --> 00:18:02,706
sothatwe couId open up
the backwaII ofthe arch,
350
00:18:03,124 --> 00:18:05,292
atthe momentthat
the screen was Iifted,
351
00:18:05,835 --> 00:18:10,755
sothat itcouId tipforward and
get itseIfinto averticaI position.
352
00:18:10,923 --> 00:18:13,216
Butoncewe'd worked
out howto do it,
353
00:18:13,301 --> 00:18:15,093
when itwas done each night
in the show,
354
00:18:15,177 --> 00:18:19,389
itwas prettysmooth because
thewhoIe pointofa show Iikethis
355
00:18:19,473 --> 00:18:23,101
isthat in technicaI rehearsaIs,
you workthesethings out,
356
00:18:23,227 --> 00:18:26,605
so bythetime itgoes on the road,
they're reasonabIydebugged.
357
00:18:26,731 --> 00:18:32,611
In terms ofthe projection, the
projectoris a 70 miI... projector
358
00:18:32,695 --> 00:18:36,239
with 70 miI fiIm spooIs
and they're huge, okay?
359
00:18:36,407 --> 00:18:39,826
It'sthe bestquaIityyou can get
otherthan IMAX,
360
00:18:39,994 --> 00:18:41,703
which theywerethinking ofdoing.
361
00:18:42,246 --> 00:18:44,748
Butthatwas actuaIIy
quite prohibitive.
362
00:18:44,832 --> 00:18:46,916
Ifyou thinkofhow big
an IMAX screen is,
363
00:18:47,168 --> 00:18:48,585
you wouId neverhave
seen the musicians.
364
00:18:49,420 --> 00:18:52,672
The propsthatwe used on that--
onthe Division BellTour,
365
00:18:52,965 --> 00:18:54,924
we had the aeropIane
366
00:18:55,009 --> 00:18:59,179
which has been used over--
in Pink FIoyd shows overmanyyears.
367
00:18:59,305 --> 00:19:02,724
In fact, virtuaIIyaII thetours
since D¤¤ ¤i¤e oft¤e ¤¤n¤
368
00:19:02,892 --> 00:19:06,561
We used two pig heads
abovethe PAsystem
369
00:19:06,646 --> 00:19:07,937
eitherside ofthe stage,
370
00:19:08,022 --> 00:19:11,066
theywouId depIoyduring
"One ofThese Days".
371
00:19:11,233 --> 00:19:15,445
In the house, we had this mirrorbaII
thatwas on thetop ofatower
372
00:19:15,529 --> 00:19:19,032
thatzipped itseIftogether
and went up 60feet
373
00:19:19,116 --> 00:19:22,243
and we had a mirrorbaII on top ofit
which was 20feet in diameter
374
00:19:22,328 --> 00:19:24,996
which squashed down
flat Iike a pancake
375
00:19:25,289 --> 00:19:27,791
and Iifted up into a sphere
as itwent up
376
00:19:27,875 --> 00:19:31,252
and then itopened up
Iike a giantflowerpetaI
377
00:19:31,420 --> 00:19:32,671
with avery bright Iight inside it.
378
00:19:32,755 --> 00:19:35,715
And itwas a reaIIy reIigious moment
379
00:19:35,800 --> 00:19:38,426
when thisthing happened towards
the end ofthe show
380
00:19:38,552 --> 00:19:40,887
right in the middIe ofthe stadium.
Quite ext¤ordinary.
381
00:19:40,971 --> 00:19:44,307
Itwent up reaIIy high and Iit up
thewhoIe stadium.
382
00:19:44,433 --> 00:19:46,267
Thatwas a great, greatthing.
383
00:19:46,686 --> 00:19:49,104
ObviousIy, the question ofsync...
384
00:19:49,897 --> 00:19:52,023
is quite a compIex issue,
385
00:19:52,191 --> 00:19:54,317
because ifyou're a musician,
you can imagine
386
00:19:54,402 --> 00:19:57,404
that maybe youjustwantto pIay
according to yourmood,
387
00:19:57,530 --> 00:20:00,657
maybe you wantto pIay, you know,
sIowerorfaster
388
00:20:00,866 --> 00:20:02,617
foravarie¤ofreasons.
389
00:20:02,785 --> 00:20:05,328
Nothing to dowith thefiIm itseIf.
390
00:20:05,705 --> 00:20:08,707
And sometimes you maywantto pIay
tothefiIm.
391
00:20:08,916 --> 00:20:11,710
Many, many peopIe have asked howwe
kepteverything in sync in the show,
392
00:20:11,919 --> 00:20:14,587
thevariousfiIms and sound effects
and things Iikethat,
393
00:20:14,880 --> 00:20:18,508
and the answeriswe didn't reaIIy.
We did itaII by hand.
394
00:20:19,176 --> 00:20:21,761
There'd betimeswhen Dave Lohr
wouId be on headphones
395
00:20:21,846 --> 00:20:23,722
and he'djust bewaiting
fora particuIarmusicaI point
396
00:20:23,806 --> 00:20:26,307
and he'd Iined histape machine up
to a markand he pressed the button,
397
00:20:26,434 --> 00:20:28,476
and Io and behoId,
itwouId come outatthe righttime.
398
00:20:28,644 --> 00:20:31,938
On "Shine On You C¤zy Diamond",
David GiImourwouId wa¤h thefiIm
399
00:20:32,064 --> 00:20:34,023
andjuststart pIaying
ata particuIartime
400
00:20:34,233 --> 00:20:36,568
and he had a coupIe of
particuIarcue points he knew
401
00:20:36,652 --> 00:20:38,695
and ifhewas in frontofit,
he'd sIowdown a bit,
402
00:20:38,863 --> 00:20:40,405
ifhewas behind it, he'd speed up.
403
00:20:40,489 --> 00:20:41,990
And it meantthat, basicaIIy,
404
00:20:42,116 --> 00:20:45,410
he couId keepthewhoIe song
in syncwith thefiIm. Nearenough.
405
00:20:45,536 --> 00:20:47,287
It mightdriftout bya second
here orthere
406
00:20:47,371 --> 00:20:49,456
but itdidn't matter,
you were stiII seeing the picture
407
00:20:49,582 --> 00:20:51,583
thatappIied tothe Iine
you were hearing him sing.
408
00:20:51,917 --> 00:20:55,628
ThefiIm is made ofmixes
ratherthan cuts,
409
00:20:55,713 --> 00:20:58,965
so it's a sIow procedure,
changing graduaIIy
410
00:20:59,091 --> 00:21:01,676
from one shotto another,
often in sIow motion
411
00:21:02,261 --> 00:21:04,763
and thatwas averydistinctdecision
412
00:21:04,847 --> 00:21:07,182
notonIyto be
resonantwith the music
413
00:21:07,349 --> 00:21:10,602
butaIso, it meantthatthereweren't
any particuIarcut points, you know,
414
00:21:10,686 --> 00:21:12,020
A mix is soft.
415
00:21:12,188 --> 00:21:14,564
And ifyou're in sIow motion
and the mix is soft,
416
00:21:14,690 --> 00:21:16,983
then you've got no
hard timesto go by.
417
00:21:17,401 --> 00:21:20,195
AIthough "On The Run", forexampIe,
wouId befixed.
418
00:21:20,362 --> 00:21:22,572
and aIso, the beginning of"Time",
I thinkwasfixed,
419
00:21:22,698 --> 00:21:24,324
itwouId have a cIicktrack, in fact.
420
00:21:24,492 --> 00:21:28,912
ButthewhoIe business
was such a numberand, you know.
421
00:21:29,079 --> 00:21:30,121
it's extraordinary.
422
00:21:30,206 --> 00:21:32,415
What's more interesting
in the process...
423
00:21:33,083 --> 00:21:35,668
iswhatwerethefiImstrying to do,
ifyou Iike.
424
00:21:35,836 --> 00:21:37,337
Whatarethe impIications,
425
00:21:37,505 --> 00:21:39,339
which are different
from othersituations,
426
00:21:39,507 --> 00:21:43,843
partIy because you're making
fiImsto accompanythe Iive show,
427
00:21:44,011 --> 00:21:48,223
butaIso, they'reteIIing stories
thatare FIoyd stories.
428
00:21:48,516 --> 00:21:50,683
Sometimesthe stories
are notverycIear,
429
00:21:50,810 --> 00:21:54,187
sothey're more Ioose,
more poetic ifyou Iike
430
00:21:54,438 --> 00:21:57,607
forwantofa betterword,
though that's a prettygood word.
431
00:21:58,275 --> 00:21:59,943
In terms ofspecificfiIms,
432
00:22:00,194 --> 00:22:03,238
"Shine On" isvery personaI
433
00:22:03,405 --> 00:22:06,950
'cause it's an a¤mpt, in part,
to represent Syd
434
00:22:07,201 --> 00:22:11,579
and sortofreferto his
abbreviated Iife story.
435
00:22:11,705 --> 00:22:16,376
I mean, it's not reaI, noris it
direct, it'sjust metaphoricaI
436
00:22:16,585 --> 00:22:20,171
but it'svery personaI to me
and tothe band
437
00:22:20,297 --> 00:22:26,928
in trying to saysomething obIique
and a bitsad reaIIy, forSyd.
438
00:22:28,347 --> 00:22:32,267
"High Hopes" is aIsovery personaI,
butthistimeto ouryouth,
439
00:22:32,351 --> 00:22:35,353
and tothetown we camefrom,
nameIy Cambridge,
440
00:22:35,563 --> 00:22:39,274
and has Iots ofreferences in it
thatareto dowith youth and memory
441
00:22:39,525 --> 00:22:43,444
and aIso, to dowith the kind of
distortion ofmemorythat,
442
00:22:43,571 --> 00:22:45,989
you know, often when you
rememberyourchiIdhood,
443
00:22:46,156 --> 00:22:49,367
it's aIways as ifthingswere much
biggerand more powerfuI.
444
00:22:49,577 --> 00:22:52,412
And this istwo-foId.
It's partIy because I thinktheyare,
445
00:22:52,621 --> 00:22:55,290
¤causetheystrike you when you're
younger, therefore yourbrain is--
446
00:22:55,499 --> 00:22:59,419
Yourmemory is kind of, Iike, newer
sowhat hits you isthefirsttime
447
00:22:59,545 --> 00:23:01,170
but it's aIsotrue
because you're atoddIer.
448
00:23:01,338 --> 00:23:05,800
And in fact, everything from
treesto aduIts, aretaIIer, bigger.
449
00:23:06,093 --> 00:23:08,428
I mean, forexampIethere are
the guys on stiIts
450
00:23:09,054 --> 00:23:10,388
who are--who I reaIIyenjoyed
451
00:23:10,472 --> 00:23:13,099
notjust because ofthe kind
ofodd waytheywaIk
452
00:23:13,183 --> 00:23:14,726
butaIso 'causethey're sotaII,
453
00:23:14,894 --> 00:23:17,812
and thistaIInesswasjust,
ifyou Iike, a simpIeway
454
00:23:18,105 --> 00:23:20,398
to suggesta memory,
thatthe memorywas bigger
455
00:23:20,524 --> 00:23:22,358
and the same goesforthe gowns.
456
00:23:22,484 --> 00:23:24,402
Rememberthe guywho
waswaIking aIong
457
00:23:24,486 --> 00:23:26,529
the runwayatthe oId aerodrome,
458
00:23:26,906 --> 00:23:28,239
and this gown is enormous.
459
00:23:28,365 --> 00:23:30,533
I mean, it's about--
it's about60foot.
460
00:23:30,618 --> 00:23:34,329
It's huge and actuaIIy
we had to hoId it up byairbaIIoons
461
00:23:34,538 --> 00:23:37,832
because it is so big
butwe painted them outafterwards.
462
00:23:38,250 --> 00:23:42,003
On an ave¤ge day, wewouId go in
with the back Iine atten o'cIock.
463
00:23:42,129 --> 00:23:44,505
Wewerethe Iastcrewto go in.
464
00:23:44,590 --> 00:23:47,508
OurgoaI wasto be ready
forfouro'cIock,
465
00:23:47,593 --> 00:23:49,218
when the band wouId turn up
fora sound check.
466
00:23:49,386 --> 00:23:52,722
The sound check itseIfwas aIways
done in a pre-determined order
467
00:23:52,806 --> 00:23:54,724
starting with the
drums and percussion
468
00:23:54,975 --> 00:23:58,394
and working through the band to David
whowasthe Iast person.
469
00:23:58,604 --> 00:24:02,190
The band wouId then pIaya coupIe
ofnumberstogether,
470
00:24:02,358 --> 00:24:04,108
make sure everything
was sounding right,
471
00:24:04,276 --> 00:24:07,236
turn everything on to standby,
go and have some dinner.
472
00:24:07,404 --> 00:24:10,114
Bythetimewe gotto
the European Ieg ofthetour
473
00:24:10,240 --> 00:24:12,867
which were IargeIyou¤oorvenues
and wouId tend to open the--
474
00:24:12,952 --> 00:24:14,327
open the doorsvery, veryearly
475
00:24:14,453 --> 00:24:16,621
and Iet peopIe in at--
in the middIe ofthe afternoon,
476
00:24:16,789 --> 00:24:19,666
and they--the pubIicwouId be
in beforewe arrived,
477
00:24:19,959 --> 00:24:23,378
and so effectiveIywe couIdn't
sound checkand we didn't.
478
00:24:23,504 --> 00:24:26,005
So, prettyweII the European Ieg
ofthetour
479
00:24:26,215 --> 00:24:27,632
was donewithouta sound check,
480
00:24:27,758 --> 00:24:29,717
and bythen, we reaIIy knew
the showveryweII
481
00:24:29,802 --> 00:24:32,720
and we couId Iookatthe board,
putthefaderstothe right position
482
00:24:32,805 --> 00:24:35,348
and startthefirstsong,
and we'd be prettyweII right.
483
00:24:35,557 --> 00:24:37,100
and bya minute in,
484
00:24:37,184 --> 00:24:39,310
we'd be absoIuteIy
wherewewouId have been
485
00:24:39,395 --> 00:24:40,561
ifwe'd done a sound check.
486
00:24:40,896 --> 00:24:44,273
Some ofthe beststadiumsto pIay in
werethe smaII coIIegetowns
487
00:24:44,400 --> 00:24:45,733
where you'd pIay
theirfootbaII stadium,
488
00:24:45,859 --> 00:24:47,694
and they'd veryo¤n
be quite Iowatthe sides
489
00:24:47,778 --> 00:24:48,861
and have an open back,
490
00:24:48,988 --> 00:24:51,364
and itwas aImostthe same
as pIaying in afieId
491
00:24:51,573 --> 00:24:52,865
and theywere IoveIyto pIay in.
492
00:24:53,033 --> 00:24:55,618
Theywere reaIIy...
very nice controIIed sound,
493
00:24:55,744 --> 00:24:57,120
notvery reverberant.
494
00:24:57,246 --> 00:25:00,456
Good--Verygood-- Some ofourbest
sho¤¤were in those smaII towns.
495
00:25:00,874 --> 00:25:03,918
Theworst, which is notorious
wasthe...
496
00:25:05,754 --> 00:25:07,505
OIympic Stadium in MontreaI,
497
00:25:08,424 --> 00:25:11,968
which coincidentaIIy isthefamous
498
00:25:12,052 --> 00:25:14,012
venuefor Roger
spitting atthe audience
499
00:25:14,096 --> 00:25:15,471
that Ied on tothe ¤llsho¤¤.
500
00:25:15,556 --> 00:25:18,307
And it is a horribIevenue,
it's notoriousIy horribIe.
501
00:25:18,434 --> 00:25:20,226
It's got reverb...
502
00:25:20,310 --> 00:25:22,353
The reverb's probabIy
stiII going eightyears Iater,
503
00:25:22,479 --> 00:25:23,855
it'sjust horrendous.
504
00:25:24,606 --> 00:25:26,774
Wefound reaIIythe onIyway
to pIaythose pIaces
505
00:25:26,859 --> 00:25:28,735
wastotryand drown itout,
506
00:25:28,944 --> 00:25:31,821
which is-- ¤nfortunate phiIosophy
wasjustto govery Ioud,
507
00:25:32,072 --> 00:25:34,115
and itactuaIIyseemed to heIp
which is a shame.
508
00:25:34,199 --> 00:25:35,241
We'd rathernot have donethat.
509
00:25:35,409 --> 00:25:39,078
One showthatwas particuIarly
exciting was in Rice...
510
00:25:40,122 --> 00:25:43,666
Rice ¤niversity Stadium
in Houston, Texas
511
00:25:43,751 --> 00:25:46,085
wherewe had a
rema¤bIe amountofrain.
512
00:25:46,295 --> 00:25:49,338
And were intothe show
and thetropicaI rainstorm
513
00:25:49,423 --> 00:25:51,215
decided to descend on us.
514
00:25:51,675 --> 00:25:54,719
And effectiveIyflooded
the entire stadium.
515
00:25:54,887 --> 00:25:56,971
You can't protect
againstatropicaI rainstorm.
516
00:25:57,056 --> 00:26:00,016
Itwas-- Itwas, you know,
an inch in five minutes orsomething.
517
00:26:00,142 --> 00:26:01,184
Itwas unbeIievabIe.
518
00:26:01,351 --> 00:26:04,270
And a carin the carpark
was struck by Iightning
519
00:26:04,354 --> 00:26:07,732
and bIew upwhich waswitnessed
bya PAcrew
520
00:26:07,858 --> 00:26:11,069
from the surround sound PAthat
was up atthe edge ofthe stadium,
521
00:26:11,320 --> 00:26:13,196
and I have a photograph that I took
522
00:26:13,363 --> 00:26:16,157
asthe roofabovethe stage coIIapsed
523
00:26:16,241 --> 00:26:20,119
and this giganticamountofwater
came down ontothe stage
524
00:26:20,245 --> 00:26:22,789
so much that itjust
wiped everything off.
525
00:26:22,873 --> 00:26:26,375
The audience, amazingIyenough,
bythe end ofit, was standing aImost
526
00:26:26,460 --> 00:26:28,920
uptotheirknees
in waterin the stadium.
527
00:26:30,380 --> 00:26:34,050
The rain often adds sortofan e¤ra
exciting eIementtothe show
528
00:26:34,134 --> 00:26:36,177
and forms a bitofa bond
between the audience
529
00:26:36,261 --> 00:26:39,931
and the band because everybody's
determined stiII to enjoythemseIves
530
00:26:40,015 --> 00:26:41,641
and to enjoythe experience.
531
00:26:41,809 --> 00:26:45,603
Itgottothe pointwhere one byone
various pieces ofequipment
532
00:26:46,396 --> 00:26:48,564
-started going off.
-PeopIewouId breakdown on the stage
533
00:26:48,649 --> 00:26:51,275
and then-- intothe end
theywere pIaying as atrio,
534
00:26:51,443 --> 00:26:53,361
withjust David
and bass and drums.
535
00:26:53,487 --> 00:26:55,196
And Nick Mason was Ieft
536
00:26:55,280 --> 00:26:58,324
pIopping his drums in a
puddIe ofwateron a snare.
537
00:26:58,450 --> 00:27:00,993
Everything eIse had shutdown, gone
awayyou know, I mean, IiteraIIy,
538
00:27:01,203 --> 00:27:03,830
instrumentswere going down one by
one, the Iighting system wentdown,
539
00:27:03,914 --> 00:27:05,665
the sound system went--
everything wentdown.
540
00:27:05,749 --> 00:27:08,417
I mean, itwasjust--
the band was soaking wet.
541
00:27:08,836 --> 00:27:10,419
Once David's guitarpacked up
thatwas it.
542
00:27:10,546 --> 00:27:12,046
End-- It had to be
the end ofthe show.
543
00:27:12,214 --> 00:27:13,548
Therewasjust nothing
Ieftthatworked.
544
00:27:14,341 --> 00:27:19,971
Forme, I thinkthe big memory
was actuaIIycoming to Earl's Court
545
00:27:20,139 --> 00:27:22,014
and having done nearlysix months
on the road
546
00:27:22,224 --> 00:27:25,476
ofdoing ou¤oorshows every
otherday, traveIIing,
547
00:27:25,769 --> 00:27:29,188
deaIing with theweather,
and aII thatthatentaiIs,
548
00:27:29,481 --> 00:27:32,984
and aIso pIaying to Iargevenues
ofbe¤een, I suppose,
549
00:27:33,068 --> 00:27:35,153
thi¤and a hundred thousand peopIe.
550
00:27:35,320 --> 00:27:38,489
Itwasvery nice
to actuaIIy be inside,
551
00:27:38,699 --> 00:27:41,367
outoftheweather,
you couId go home at night,
552
00:27:41,451 --> 00:27:46,164
wewerethereforthreeweeks, didn't
haveto putthe equipmentaway...
553
00:27:46,665 --> 00:27:49,667
and itwas Iike pIaying a smaII cIub
to us, reaIIy,
554
00:27:49,835 --> 00:27:51,169
afterthe sho¤swe'd done.
555
00:27:51,628 --> 00:27:54,172
A IotofpeopIewo¤aboutgoing
and pIaying Earl's Court,
556
00:27:54,256 --> 00:27:57,341
because it's regarded as being
a di¤cuItvenueforthe acoustics.
557
00:27:57,551 --> 00:27:59,510
I haveto say, forus,
558
00:27:59,636 --> 00:28:02,597
compared towherewe'd been
forthe Iastsix months
559
00:28:02,723 --> 00:28:04,891
itwas reIativeIyeasy.
I mean, it's di¤cuIt
560
00:28:05,058 --> 00:28:06,434
because it's big
and it's reverberant,
561
00:28:06,518 --> 00:28:07,810
butactuaIIy, it's smaIIer
562
00:28:07,895 --> 00:28:10,396
and Iess reverberant
than a IotofpIaceswe'd done.
563
00:28:10,606 --> 00:28:14,775
So, itwasn't-- itwasn't reaIIy
thatdi¤cuIt, orthat intimidating.
564
00:28:14,943 --> 00:28:17,403
Britannia Row had aIso gota
Iotofexperience ofthatvenue
565
00:28:17,529 --> 00:28:19,572
and knew howto
rig itto make itwork.
566
00:28:19,740 --> 00:28:23,284
So, it--You know, fora Iot--
I supposefora IotofpeopIe,
567
00:28:23,452 --> 00:28:25,286
that'swheretheygo into
the biggest room they pIay,
568
00:28:25,370 --> 00:28:27,663
forus itwasthe smaIIest room,
so different.
569
00:28:28,248 --> 00:28:30,458
I thinkwith anygroup
thataretouring
570
00:28:30,626 --> 00:28:34,253
when theycome back intotheir
home city, it's particuIarlyspeciaI.
571
00:28:35,005 --> 00:28:38,382
And this ofcoursewas because
they hadn't pIayed in EngIand
572
00:28:38,467 --> 00:28:39,842
on thewhoIetour.
573
00:28:40,260 --> 00:28:42,553
Theycame back
atthe end of 120 sho¤s
574
00:28:42,763 --> 00:28:45,056
around America and Europe,
orwhateveritwas.
575
00:28:45,974 --> 00:28:48,726
So, yes, A: itwas a combination
oftheirhomecoming,
576
00:28:48,894 --> 00:28:51,896
B: it's sortofthe main
prestigiousvenue in London.
577
00:28:52,147 --> 00:28:56,150
Wewere abIeto break records and
seII itoutfor 14 nights in a row.
578
00:28:57,277 --> 00:29:00,071
And so, the generaI sortof
excitementand atmosphere
579
00:29:00,155 --> 00:29:02,990
surrounding thewhoIe event
was particuIarlyspeciaI.
580
00:29:03,742 --> 00:29:07,703
I thinkatthe Iast--the Iast note
at Earl's Court,
581
00:29:08,205 --> 00:29:11,499
one, ofcourse automaticaIIy
having donethe showforsix months,
582
00:29:12,125 --> 00:29:15,461
goes into auto mode of, '¤e've gotto
packaII this equipmentaway."
583
00:29:15,587 --> 00:29:17,922
Butthere is a bitofa sense of...
584
00:29:18,465 --> 00:29:21,050
I suppose, Ioss,
oremp¤feeIing atthe sametime,
585
00:29:21,134 --> 00:29:25,179
in thatyou've been doing that
everyotherdayforsix months
586
00:29:25,305 --> 00:29:27,640
and suddenIythat's it,
it's over.
587
00:29:27,724 --> 00:29:31,102
So, it's aIways a IittIe sad
atthat point, you know,
588
00:29:31,228 --> 00:29:32,979
and you've buiIt up reIationships
and friendships
589
00:29:33,105 --> 00:29:36,023
with different peopIe and aII the
thingsthatgo aIong with that
590
00:29:36,233 --> 00:29:41,028
and it's... it's inevitabIy
a sIightsad time,
591
00:29:41,238 --> 00:29:44,198
aIthough happyto be home
and have a break,
592
00:29:44,324 --> 00:29:46,492
'cause it is pretty
grueIIing asweII.
50650
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.