Original subtitles

Celebrities used to be people who did something .

And they were celebrated because they'd done something .

Now, you can be a celebrity for being a celebrity.

You don't have to do anything .

You just have to have that extraordinary Iack of imagination

that you're perfectly happy to be known for nothing .

"Oh , what a relief," you know, you don't have to actually do anything .

It doesn't piss me off but I think about it.

When I was a teenager growing up,

my favourite read when I discovered it was Brave New World.

AIdous H uxley. Reality TV has become a our soma, you know.

This is the opiate of the masses now.

There is no us and them, we are them and they are us.

We speak the Ianguages that we do by accident of birth .

CIearly, you think differently if you were born in Tehran or you may do

than if you're born in Oklahoma.

We're all the same people.

We all have on our side

people who couldn't be happier than to be given a stick

and told to go and hit somebody over the head with it.

But we have just as many of people

who have a propensity for that kind of behaviour.

As they do. There's no difference between us.

There is at the heart of American society, a deep connection with neighborliness.

That old thing of helping the guy next door rebuild the barn

when it's blown down .

You still feel that, there's something of that still there

in the society that's based entirely on dog-eat-dog competition ,

I still feel that those sentiments are alive and well , and I'm drawn to that.

It's a strange movie but it's very powerful in some ways.

Thought Geldof was great in it.

Peter Biziou , who was the DP, is brilliant as well .

Gerry Scarfe's animation was extraordinary.

AIan Parker obviously a very accomplished filmmaker.

I thought it was a really good effort.

That's late. The cue was Iate but that's fine.

Stop.

Were we gonna do the cross-fade to pink.

What shall we use. . .?

Where we use to talk.

It's not kind of rosy enough . It Iooks sort of magenta.

Can we have it a bit more red than that.

Stop. Start earlier. Because that didn't happen .

Tell him to go on spaces.

Why is that magenta fucking Iight--? Bit more red .

Each cue should be the snap. This is:

Okay, take a no. It's better.

See that's good . That went purple on that building .

- Brilliant. - That's fucking--

- Well done. - Yeah .

Perhaps, we'Il take you along after all .

We do have flags?

We do have flags?

Do we have flags?

Yeah . We have one right there.

I think even one would be good fun .

You have to do a figure of eight, Sean .

- Figure what? - A figure of eight in the sky.

- I can't. - It might hit you in the head .

We should run tests to see--

Because that Iooked kind of hard for you to make it.

- Yeah . Bring it to-- - Actually, figure eight--

It's all where you hold it. It's just getting--

Yeah , that's pretty good . We can't see it because it's red .

- It's pretty good . - Looks a bit small .

It's hilarious because it's huge.

They can stop. Tell them to stop. Wear himself out.

You can stop now.

- A scene when no one's around . - So I don't be scared .

Yeah , don't be scared .

- How are you? Good to see you , man . - How you've been , man?

- I've been well . You? Everything's good . - Good . You look good .

You're there. And you're there.

Stop.

And then we're gonna go on and sing .

Tucker, come here. Come on , come up here.

The show will be in 1 0 minutes.

This is Tucker.

Yeah , look. You're on stage. You're the star dog .

John , they're doing it better than you because you aren't moving your feet.

- She's going Iike this: - Oh , okay.

- More Iike church . - Yeah .

We'll do the T-shirt thing first, then come back to rehearse it.

Sure, yeah , why not? Yeah , let's get dressed up.

Hers is too small .

I like the big baggy look.

If you want it smaller, if you feel sharper...

Yeah , you're cool . Looking good , man .

Yeah . Can we have music?

Good . And then , we're gonna dance. You follow me.

That is beautiful . When we get to the end of this guitar solo,

I wanna try something . At the end of the guitar solo,

Sierra, I'II show you how to do it right.

We will go out wide here.

The rest of you peel off behind

so that everybody gathers at the other end of the stage.

One, two, three, come on ! Let's all go down here.

Come, all this way. Peel off, come on , you guys.

Stop, stop, stop. As Sierra and I run pass you , you all come.

You never move that way. Go.

That way, that way, that way.

Go that way. Don't go-- Stop. Stop.

As soon as you see Sierra go, you don't go this way and go around .

Only go leff. You go straight this way.

Don't follow in a line. You're going in a big crowd .

That way.

It's like you wanna shake your fist, you can't. Give him some--

We hate you , you horrible old teacher.

And you can dance around , move, move, move.

Yeah , that's good . That's a good idea.

Okay, stop. Very good .

We have films being projected during this bit on here.

And just then , when I just stopped you ,

there's a subway train goes through .

We sort of need to get you off the stage

before you get run over by a subway train .

That would not be good , would it?

- It's not real . Don't-- It's not real . - Really?

Go, go, go.

Great. Great.

Okay, perfect.

Let's try this one more move to remember. You go:

Yes, cool . Holding hands is great.

Good .

This way, guys.

So now, one or two of us should start Ieaving the stage.

Brilliant. Well done. You guys can take these. That's cool .

Oh , thanks.

It's always a highlight, working with those kids.

Wherever we are in the world , it's great. I'm so glad we're doing it.

I mean , I can't have enough of them .

I can only speak for New York, I haven't Iived anywhere else.

But here, people like to work.

People are enthusiastic.

They're excited about ideas and they want to do things.

That's what really attracts me. The work ethic in this town is fantastic.

If you have success in New York, they go, "Well done."

"Oh , you did that? Good for you ." And I Iove that.

If you slam your finger in the car door, you know that feeling .

Your stomach goes and you-- Oh , fuck. Just--

And you haven't even broken it or anything , it's just that thing

to be actually seriously wounded by an I ED or a--

It's beyond our comprehension what that must feel Iike.

And I'm not just talking about soldiers, I'm talking about all the civilians as well .

Some ex-servicemen , some veterans,

come back to some kind of normalcy

affer the experiences that they go through .

But an awful Iot don't-- One in four is homeless in U nited States is a veteran .

My uncle Jimmy came back from the Second World War.

He survived when the other six or seven guys

in the three-ton truck he was driving were all blown to bits.

He worked . He sort of got by but...

I'm Ian MacDonald , and I'm controlling the puppets.

- Ian . Make her rear up a bit higher. - Yeah .

- Take it up higher. - Yes. Not always in the same spot.

I make the puppets dance and do their stuff while Roger's on stage.

You've got to keep doing shit with her the whole time.

Otherwise, we get bored .

And they're about nine metres or 30 feet high each .

So they're big inflatable puppets.

If I was a puppeteer,

I might suggest that you could have strings on her knees as well .

- Yeah, there's nothing on her knee. - So then you can articulate the movement.

You can have her do all kinds of weird things.

Roger's personality is there in all three puppets definitely.

Lights up. So Iet's see the range of motions.

- Is that it? Ian , we understand each other. - Yeah . Absolutely.

She-- It's a whole performance.

Comes down as slowly as possible.

She then turns as far as she'll go towards the audience.

She then goes as close to the audience as possible

with her paws out and fucks around like that.

She then comes up again . And she then turns back on stage

and we hit her with a big white Iight.

- Let's see it then . - Coming into it now.

That's good . That actually Iooks Iike a puppet now.

It's cool . I like it.

We have a good rapport so that's important.

That's okay.

- Are all these your guitars? - I'm sorry, sir.

Here we go. This is the main bass, this is Roger's.

Well , it's basically Fender Precision Bass.

It's not all Fender. A Iittle Iarger neck than usual .

Made up over the years of various bits and pieces.

Fender actually took that one to pieces

and cloned this one, down to the markings on the neck.

G. E. has the original style Fender P Bass, late 1 951 .

This is serial number 88, something Iike that.

He has a number of samples from the original Wall album .

He'Il call them up with this guy and he'Il play this little part here.

Like a timpani . But the rest are all acoustic. It's all him.

We have three distinctly different soloists:

Kilminster, Snowy, and G . E. , makes it really interesting .

Dave Kilminster is-- He's a Telecaster man .

The ones he's using this time around are made by John Suhr.

These are really fine instruments.

They're Iike Telecaster plus. The vibrato Iike a Stratocaster.

H is number one is the Rose.

He plays it from the top of the wall for the "Comfortably Numb" solo.

Now, the one next to it is tuned down to D for "Run Like Hell"

because it has a deep-throat-y sound that was used in the original tune.

Nylon string, our classical guitar here is a Godin

which is a Canadian company.

And this is a solid body actually.

So it doesn't feedback Iike traditional classical instruments.

We have a history with Dave and Snowy and of course, Roger,

and G. E. just fit right in . It's like he's been here for years.

He's a Telecaster man as well so that's after my heart.

This is the blonde Telecaster.

I'm just getting to know his guitars

to where I know all the tasty little bits about them.

The only one we don't bring up until the Iast minute is Snowy's Les Paul .

Snowy's baby, we call it. It's an original '59 Goldtop.

At one point early on Dark Side of the Moon,

affer years of babying this thing

with road case, within a trunk, within another road case,

it got knocked over on stage and the headstock broke.

We sent it off to a master Iuthier who fixed the thing and shipped it back.

I made special bumper guitar stands in case it goes over again .

We don't bring it out until the Iast minute.

AII the funny instruments: G. E.'s 1 91 2 Gibson Mandolin , 1 91 2,

the banjo, of course, the accordion , the ukulele,

which Graham plays was one that's custom made by Martin .

But the band gave it to Roger

at the end of Dark Side of the Moon as a gift

and it's all beautifully inlaid with his name down the fret board .

This is one of Roger's acoustics.

He plays two during the show, one in "Mother," one in "BIue Sky."

And favourite acoustic guitar. This is a Martin special edition .

This is what he plays on "Mother."

It's in a nice black Iacquer, different machine heads, it sounds Iovely.

Then we go down to the front stage. This is only the main stage.

We actually have two. There's two Hammond organs,

two sets of synthesizers, two drum kits.

Man , I didn't think it through when I answered the phone and said yes.

My personal fight against my own immurement,

my own hiding behind a wall because I was a frightened young man

could be seen as an allegory or a microscopic example

of something that is capable of much Iarger interpretation .

Nations and religions and groupings of people of one sort or another

wall themselves in behind their ideologies

because they're frightened of the other.

I've written all this on the fucking website.

Groups of people get frightened and then build walls.

It then makes it harder and harder for them to establish lines of communication

with the ones that they consider to be other.

The foreigners, the evil ones, you know, the towel heads,

the Muslims, or the Christians, or whoever it might be.

I n consequence, we flounder around in a situation

that one would've hoped would've died out

at the end of the 1 6th century with the Fourth Crusade.

It's an expression of my belief that we are all capable of change

and we are all capable of change for the better

and that if we are fearful , and in consequence of that fear,

we separate ourselves from others

and point fingers at them and wanna fight with them.

We are all individually and as groups capable of moving away from that position

to position where we say, "Maybe it would be better to understand other people."

U nfortunately, we have failed to transcend our bigotry

and dogma and attachment to fundamental ideologies.

And in consequence, we're still blowing each other up at an alarming rate.

I feel that, if with my work,

I can adopt and express the position , that that's a very bad thing .

I will do so now and tomorrow

and I shall continue to so for as Iong as I continue to work.

Well , there's two of us, and Robbie's the singer.

He sings the choruses on "Comfortably Numb." He's on the left-hand side.

And then , I play the guitar solos, I'm on the right-hand side.

You know, we sort of turned up and it's Iike, "Dave, get on there."

So I get on there and it starts going up, I'm thinking :

"Oh , it's quite a Iong way down ."

He goes up with one of the carps I think it's Dave Hall .

There's no wires, there's no handrail , not that you can hang on to, anyway.

You got both hands playing the guitar.

We were joking about giving him some leg shackles and a long chain

so even if he fell , he could play hanging upside down , finish it off.

I'm sure I'm gonna get used to it.

I'm gonna do that over a hundred times for the next months.

Maybe towards the end , I'd be really blasé

and standing on one Ieg when I'm playing solos.

- It's really-- Have you been up there? - No. I'm afraid of heights.

The iconic kind of standing on top of the wall playing that guitar solo,

it's a huge thing . Mentally, it's huge.

Every note is really, really important because everyone knows it.

They really know it if you mess up as well .

He's a very emotional guy, he takes-- He's very sensitive about stuff.

So he's really good at playing that solo, so everybody recognises it.

But emoting to where he make it his own .

First time I went up there, Roger's tech came up with me

and actually held on to my Ieg as I'm playing ,

which was kind of amusing and slightly off-putting .

It's not easy to make a wall fall down .

As weird as it sounds, it was many times

building a wall and trying to make it fall down

and realising it didn't fall

and trying it again and over again .

Whenever the wall falls down , it's not just falling down

there's theses hammers that go back and forth

punching the bricks, then the stabilizers are coming down at the same time.

There are five man Iiffs.

They go up 25 feet up in the air.

Just down stage of the man Iifts

are the stabilizers, making sure that the wall doesn't fall over

but also making sure that the wall falls over when the cue is set.

It was all about the proper positioning of the hammer,

hitting the brick and how Iong it was gonna hit it.

We are in the underworld of the main stage,

where all of the wall machinery is Iocated . This machinery is my baby,

so I'm taking good care of it. My name is Alex BIais,

otherwise known as Ocho. It's a funny coincidence that a hammer

is making the wall fall down , or maybe it's not actually.

Anyway, on Saturday when we do the first show here,

some people who came to the show,

they taught us a new trick.

We did a couple of days ago.

And we're gonna do it now, but only

if, hey, somebody here has a birthday. Oh , that's one.

The second requirement is that you sing with us.

Okay, so here we go.

The Happy Birthday to the tune of "Another Brick."

Which was really-- So it was nice and new.

It was decided in the afternoon, I think.

And then we need an ending .

Thank you .

One of us.

-Gracias. -That was so much fun .

Now Dave is one of the carpenters. Basically, he works ridiculously hard .

Usually the carpenters while we're playing

are actually sleeping , because they gotta pack up everything

affer the show. But our carpenters have to build the wall all the time

so they're working constantly.

So you get this rapport with some of them .

And Dave's fantastic.

We have this thing on "Vera" where he can play exactly

the drum part that I play

but in mid-air.

Cuts to him, "You got your sticks?" He goes:

"Yeah , got my sticks." I go, "You got your beaters?"

With the Iittle wooly things on . "Got my beaters."

And he will mime every single Iittle bit.

This thing about-- We now live in a completely digitized age

where people have this

illusion that you can own experience because you can download it

and can carry it around on your cell phone.

People confuse this with real stuff.

So everyone is gonna come to this show thinking they know what it is.

And this is really fascinating , because you cannot know what this is

until you sit through it.

And you really see it, and it's big and it's in front of you ,

and fucking hell , they're really building this walI

and Jesus Christ, they're knocking it over.

Going out there, Iistening to this Iive

is not Iike Iistening to your iPod ,

even if you have the best pair

of headphones you can buy.

It's a completely different,

right to the core of your body, experience that you get.

PIus you've got this wall-to-wall panorama of Iiving art

going on with a political message, and you've got a madman on stage

singing and spitting and shouting at you . I mean , it's a totally different thing .

The power of that is what is different

between the real world and the digital world .

This is different, it goes into your brain in a completely different way

and it stays with you for your life.

Just Iike any really intense emotional experience.

I'm Mark Fisher.

There's a great breakdown in "Run Like Hell"

where the band is just playing these really crazy, wonderful , trippy sounds

and the visual behind of the

trucks and everything coming through with their spotlights.

The guys start going , like:

So we do Iike three-part harmony of that.

We turn our heads to the mic so it gets Iouder, and then it fades away

then we Iook over there, and turn our heads Iike that and do it again .

It really causes this cool doppler effect of a siren .

Every country has different siren sounds and this was

He looked it up on the internet

"I think that's an Italian siren ," you know?

We get to do the doppler effect,

I think it's fun . At first, I thought it was an odd idea.

Usually, Roger's ideas are odd ,

and then they really work.

Snowy does this just ridiculous

guitar solo that's just so great, and it's really his moment to shine,

even though he's not out front, but it's one of his big moments in the show

where Roger and everybody were all listening to Snowy

hit this really Iong sustained note

that's really hard to play if you don't have just right.

When Snowy's guitar part comes up,

for a guitarist, he's got to be right at the right place.

Right away from the amp in a perfect position .

He's gotta have the volume up just right

for that distortion and that feedback to happen .

After sound check he'll go by himself and see if he can find that sweet spot.

When Snowy does his solo

to get the feedback note, and everyone starts crowding around him ,

pretending they're filming him , that kind of stuff.

The audience should see-- Well , I guess, they will at some point.

I'Il bet with Snowy and his guitar and whether he gets the sweet spot,

I wanna be closer to it and be part of it

and I can see everyone Iaughing and having fun .

G. E.'s playing his bass and will run up to

Snowy in the lead , and Snowy's laughing and Roger's laughing ,

and it's just-- It's an amazing thing . And people I know

out in front of the wall

are thinking , "they're back, they're being , like, brooding rock stars

playing this heavy part," and it's not that way at all .

To see Roger when Snowy hits that sweet spot,

Roger just puts both hands up and starts screaming .

During Snowy's Iead , we just have fun with it

- and watch him play. - Centre of attention for about 20 seconds.

That's long enough . Go away guys, go away. Off you go.

To me, at the end , playing the trumpet really badly

and singing "Outside the Wall ," that's the bit that's Ieft with me

I am that bloke on the stage.

Good to go?

I always have this here.

It's a trumpet.

Thank you so much and good night.

The character outside the wall at the end is the position that I find myself in ,

and it's the position to which we might all aspire.

I wish I could've played the trumpet but the fucking valve's stuck.

Next time.

- There were malfunctions. - It's Iike a Janet Jackson malfunction

except with a wall .

Three times that the cams, the pistons going up

kind of knocked the wall a Iittle bit.

Twice where it really went up at Ieast 6 to maybe 1 0 inches.

The machinery that comes up in between the bricks has its built to

maintain the integrity of the wall , it comes up

in between , well , some of the frames that been set a Iittle off

and it got haltway up the walI

and it caught the frame and it lifted up the wall about this high .

- Everybody goes, "Oh , no." - The whole stage goes:

The wall going : I didn't see it,

but I heard it and the screech was intense.

The crew is running out, all these dudes that drove a million hours

and a million miles to set this all up.

They're there in a second , one of them even had a sledge hammer

and just smacked it and the whole thing came back down

and the whole wall comes down . And the whole stage goes Iike this:

We're all just thinking Iike, "Yes."

I'm Richard Turner, hello.

I'm the one who get shouted at if the pictures are wrong .

I fiddle around with computers for a Iiving . Projection on a grand scale.

I mmense, complicated , Iabour intensive.

We got a Iot of projectors, we got a Iot of tellys,

we got a Iot of computers, we are using 22 20,000-Iumen projectors

to cover the 240 foot of wall , that's 60,000 Iumens

per screen area. We're totally pleased with it, really.

There's been an awful Iot of thought gone into the content.

It's the best material I think I've worked with , ever,

but that's because of the Iove, care and craffsmanship that's gone into it

over the course of the last year.

At the start of the show, you don't know whether it's paint,

you don't know whether it's a still-image projection ,

video projection , the subway trains

in "Another Brick I n The Wall ." AII we've seen up until that point

in the show is a texture

that's been projected on the wall , instantly comes alive

and there's a Iot of clever subtle tricks in that.

A Iot of the places where the 3D Animation gets mapped

to the individual bricks on the walI

Iike in "Run Like Hell ,"

which in fact was done by another good friend of hours in London .

I think the grandest is probably the hammers

because that's such an iconic image from the original artwork.

I felt honoured ,

and very emotional actually.

A situation's been allowed to develop in this country where

the great block of people in the middle

who used to call themselves the middle-class,

their circumstance have been reduced to the point where,

suddenly some of them find themselves sleeping in their car.

They go, "Hold on a minute, how can this be right?"

Sitting in the middle of the U nited States of America,

which has a ruling class,

which is the one percent all the people in Wall Street,

who are occupying Wall Street now, are talking about.

This country is being run

absolutely for the benefit

of the richest one percent in the country.

The idea that people are paying

the same taxes as the people who clean their cars

is absolutely fucking insane.

I pay taxes here.

I'm with Warren Buffett, I'd be happy to pay more.

I think it's great that people are beginning to complain about it.

I can't believe that people didn't start complaining affer the mortgage swindle.

They had these derivatives based on mortgage debt,

that they sold to their customers.

"Here you are, son , buy that, that's a lovely investment there."

Wait for it.

Going over bet, that will fail , because we know this is shit.

We're selling to these people.

Well , hold on a minute, why aren't people going to prison?

"Well , yeah , we did really swindle people, you know.

And we admit it, and we'II pay a fine."

It may be that the great unwashed are beginning to twig .

And beginning to go, "No, there's something really wrong ."

I'm so happy to see that starting to appear on the streets.

It's beginning to happen all over the country.

SIowly, in bits-- Beginning to realise that, "No, this is wrong ."

That's the end of this political speech .

Let us concentrate now, Iet us imagine a ballpark

full

of punters Iike you .

We're gonna start again .

We're gonna do a bunch more arena shows

and I'm very happy that we are.

- We're going to Australia and Japan . - Roger, Roger, Roger.

We're not going to Japan , that was a trick answer.

I love you , Roger.

We're going to Australia

because it'Il be jolly cold here and it'll be very warm there in January,

then we're going to New Zealand because there's very good trout fishing .

We're going to South America.

One of us.

Argentina, Chile and Brazil , Mexico.

The fact is that in South America,

they don't play ice hockey, and they don't play basketball .

And in consequence of those two facts,

they don't have any indoor arenas.

You have to play outdoors in soccer stadiums.

We will be coming north to do a tour of the U nited States and Canada

between May and mid-J uly.

Here we're gonna playing in ballparks.

There's something about the Iight in a ballpark that is electrifying .

It Iooks completely surreal .

We've been reworking the show to work outdoors in Iarge stadiums

providing something that's engaging emotionally

and musically and philosophically and politically.

It Iooks as if it's gonna be even more moving and engaging .

It's beyond anything that any of us could really have imagined .

"But didn't you used to be really against doing big outdoor gigs

because you thought that you weren't able to communicate with the audience?"

I've had to rethink the whole thing ,

about stadiums and how inhuman they are,

and spitting at people in the audience,

and all that stuff that I used to do umpteen years ago.

It was the starting point for the writing of The Wall,

was that feeling of alienation .

I feel that I connect more with my audience than I used to.

And technology has changed .

This stadium show we couldn't have done 40 years ago.

We couldn't have filled the space

in a way that would be emotionally, musically,

and theatrically satisfying .

Now we can .

Take down the wall .

We will de-liver.

No. We won't de-liver.

That would suggest the removal of Iivers, that would be unkind .

Where are we going? Fenway Park in Boston , the home of the Red Sox.

The Boston Red Sox, my absolute favourite--

Baseball , isn't it?

Baseball team , with the possible exception

of the Chicago Cubs, Wrigley Field .

I once played golf with Ron Santo.

Fuck, he hit the ball a long way.

Yankee Stadium, well , enough said .

Citizens Bank Park in Philadelphia.

When I'm fishing for stripers out of Montauk, I wear a Phillies cap

because I did throw out the first pitch once

and they gave me balls and this and that, and shirts and hats.

I use the hat as a fishing accoutrement.

AT&T Park. Giants.

AIways Iiked San Francisco.

AII those waitresses in Sausalito. Let's not go there, it was a Iong time ago.

Toronto, The Rogers Centre.

Can't believe the Canadians play baseball . Do they?

The BIue Jays. Right? They play against some of your chaps.

I've seen them on the telly,

bashing away with their bats and everything .

And I've got some reviews.

"Startling visual epic. Pittsburgh ."

Who wrote this? "Best show ever. Sell a kidney.

Remarkable beyond description ."

I'm not sure I would advise selling a kidney.

Boston Herald, "the Wall tour is a modern marvel ."

I'm not making fun of the guy, he's just right.

San Francisco, here we go.

Oh , I Iove this. "Roger Waters was cool ."

He says that. I don't want it to seem as if I'm taking all this lightly.

AII you guys who wrote those great reviews, thank you .

Now, if I was a punter, I'd go, "Fuck me, I've gotta go and check that out."

One, two, one, two.

David , if you're comfy, that Iooks fantastic.

I think it's great. You can be seen from the front row.

- Okay. - Just try not to dive off, all right?

- I'II try. - I'm standing somewhere down there.

- I'II bear that in mind . - Can we run the song?

- Yeah . - Okay.

That's fantastic. Absolutely great. Well done. Brilliant.

Thank you .

So now we know,

tonight was the night

when David did me the enormous honour...

of coming to play "Comfortably N umb."

So please welcome David Gilmour.

David Gilmour!

So...

by a strange and extraordinary happy coincidence,

there is another remnant of our old band here tonight.

PIease welcome Mr. Nick Mason to the stage.

Thank you very much indeed .

Thirty years ago,

when David and N ick and I first did this, with Rick,

I was a rather grumpy person , disaffected with rock 'n' roll audiences,

as young David will attest.

But all that's changed .

I could not be happier than to be in this room with these guys,

all of them , all of 1 3 of us, and you tonight.

So thank you very, very much indeed .

And from us, thank you .

This July 21 st in Quebec City will be a significant event to celebrate

a tough-- Fuck all that, we are coming to Quebec.

We're coming to Quebec.

We're playing on the fields of Abraham .

PIaines, plaines, plaines. PIaines d'Abraham .

AII together now.

We're gonna do the Wall show but it's gonna be completely

unlike any of the Wall shows

we've done anywhere else in the world during this tour.

Enjoy yourselves!

Hang on .

I've always love playing in Quebec. The Québécois

are very passionate and musical people.

The Wall in Berlin was on the 21 st of July, 1 990.

This one will be different. It is gonna be 800 feet wide

Make it the widest wall ever.

When we did it in Berlin , the ends of the wall trailed off.

Here, it's gonna look as if it disappears into that military base

on stage Ieft, and through the trees over there on the right.

So that we get a kind of Great Wall of China effect.

It's something I've always wanted to do outdoors theatrically.

If you don't come, there's something fucking wrong with you .

This cannot go on .

I'm having too much fun .

"Tell us a bit about how you've updated--" The Wall was

a Iittle bit self-centred? It was about moi?

No, no, no, breathe, breathe--

No, no, no.

Remorse, remorse, remorse. I think I'Il write a new piece.

I have Iater discovered that it is not about moi,

it is about vous, about tout le monde.

The Wall become a more universal metaphor for the human condition , voila.

It is a universal predicament,

that we find our self in with the walls of the media

and commerce, and the corporate strategy,

separate us from the reality of our potential Iives.

I'm not taking the piss by speaking Iike this.

My friend Étienne Roda-Gil ,

he said two things to me and I keep them in my back pocket.

He said this:

"I was here.

I felt something

and perhaps

I was not alone."

It has to do with the potentiaI

that we human beings have to connect with one another.

That's what The Wall's about.

Étienne Rcda-Gil ...

That go back where it belong ,

I n my back pocket, to sustain me.

My kids are healthy.

That's sort of it, you know?

Health . Health is so important.

Particularly, one's children .

That's sort of what a lot of this show is about as well .

It's the idea of parents and children being healthy.

You know, we have all those pictures of fallen Ioved ones on the wall .

This show is a Iot about my extreme distaste

for the way that the people who run everything

routinely throwaway Iives that they don't consider important.

Not just combatants,

but what we disgustingly describe as collateral damage,

which means just innocent men , women and children

who happened to be in the wrong place at the wrong time, who we just blow away.

This is so wrong . It was not Iike this.

Back in the day, there was a Iot of fighting ,

but it was a lot of soldiers killing one another on the battleground .

The First World War, the ratio was 20 soldiers died for every civilian .

Well , now, it's one soldier for 20 civilians.

Kids, you know, playing in their backyard and suddenly--

So collateral damage is not something Iittle.

This is by far, the biggest portion of fatalities.

What we need to do is tell our Ieaders

that they have to wake up sooner rather than Iater

and stop killing these kids everywhere. Why? Stop it. Stop killing them . What for?

Every day, I come to the gig and I have two cops on bikes

and two cops in a car, and getting everybody out of the way,

so that I can get to the show fast.

AII you can hear is:

You know, all that noise.

And you can see as you're driving along,

the ordinary people of Buenos Aires are all going :

You can see it's really not going down at all well .

AII the people in the car's going by, they're all going , "Fuck you ."

And you're sort of thinking , there are some places in the world ,

if there's something like that, they think it must be important.

They just pull over.

Certainly in the States they do and they do in England , but here no.

It's a completely different society.

So we're driving home Iast night.

We come to T junction

and the Iights go green and we make a right turn, there's a cop.

A solitary cop steps out into the road

and waves us down .

It's just a beat cop, and he's--

So he goes around to the driver's window and says, "You ran that red light."

No, we didn't run any red lights.

So the guy is Iooking for a fucking bribe. He wants a bribe.

So you see him very, very slowly Ieafing through tickets

and writing stuff out.

I can feel my hackles rising , you know.

I'm about to get out, people going , "No, don't get out the car."

And then word gets out to our minders.

A police car comes up and we drive on .

So what you realise is, if we're just an ordinary person ,

we gonna give the guy a hundred pesos to Iet us go.

They are completely corrupt.

This is absolutely routine behaviour in this town .

And so you think, no wonder they go "Fuck you" to the police

who are trying to get them out of the way. They don't trust them ,

they don't feel , like, a connection .

That kind of deep-rooted corruption , particularly in a police force,

is really difficult to uproot and get rid of.

I can't change it. Maybe eventually they can .

Thank you .

Here we are, again , at the Pollstar Awards.

Thank you .

I've been delighted to say, me and my team

are being voted for the most creative stage production .

It's really nice to be given an award

that is voted for by all our colleagues in this touring industry.

On behalf of everybody involved with the Wall tour,

I'd Iike to thank anybody who voted for us.

It means a Iot.

What I thought I would share with you is this.

I had these made. It's a book from 201 0 to 201 2.

Everybody on the crew got one. It's a picture book. That's quite funny.

Everybody who worked on the tour is in here.

So what I thought I'd do is name them ,

just to say thank you to them . This shouldn't take long .

There's only 1 79 names.

So these are the people with whom I share the Pollstar Award , in alphabetical order.

Tom AIexander, Live Nation .

Aaron AIfaro, carpenter. Charlie Amos, caterer.

Romeo Joe Anchor, rigger.

CIarke Anderson , projectionist. Patrick Andersson , DOP.

Pete Ashurst, carpenter. Colin Alfie Barton , keyboard .

Gary Beirne, projectionist. Sonja Benavidez, wardrobe.

AIex "Ocho" BIais, carpenter.

Ben Blocker, audio tech . Brook 'Mon' BIomquist, pyro tech .

Barry Branford , Iighting tech . Kate Brassington , caterer.

I might have to take a break.

It was great to get this award ,

and everybody who's worked on this production is extremely proud of it.

Thank you again .

Wow, we've got another one.

Me and my team were being voted the major tour of the year again in 201 2.

I shall treasure this. You have to use your fucking imagination .

Well , I thank everybody in this room and everybody from Pollstar--

We would cut off early.

We were on Gabby Linford , projectionist. Sean Lynch , caterer.

Jeremy LIoyd , engineering design .

Vincent Lopez, pyro tech . DeeDee Luxe, dancer.

Colin Lyon , backline crew chief. Ian MacDonald , inflatables.

Rory MacFarlane, caterer. Paul Maddock-Jones, projectionist.

Madison Maley. Diane Marino, assistant to Uncle Ron Delsener.

Ian Mayer, Mike McKnight, audio playback and additional sound design .

Gary Meyer, Live Nation .

Tony M ichael , motion tech . Jeremy Miget, carpenter.

Aimee Moreault, wardrobe. Liz Morentin , Live Nation .

Marta Morilla, actress. Tim Myer, guitar tech .

Ian Newton , inflatables. Sonia N iekrasz, actress.

Andrew Zweck, tour director and Michael Zweck, tour accountant.

And to be serious for a minute, I'm extremely proud of them .

- Thank you all very much . - Thank you !

Thank you !

Subtitles: SD I MED IA