PINK FLOYD THE WALL
автобиографические заметки Алана Паркера
(который как раз только что помер, мир ему)
о том, как ему привелось снимать фильм The Wall.
Он не хотел и ужасно мучался.
Eventually MGM's David Begelman - with whom I'd made
Midnight Express, Fame and Shoot The Moon - shook on a
deal. He said, "Alan, I don't understand this movie. No
one in this company understands this movie. Even my
19-year-old son doesn't understand this movie and he's a
big Pink Floyd fan. Are you sure you can pull this off?"
"Quite sure," was my answer. "Don't worry, we won't let
you down, David. You know we're very responsible - we
always treat other people's money as if it's our own."
I bit my lip as I uttered the last dumb line. Begelman had
famously embezzled money from Columbia before landing the
top MGM job and was therefore familiar with treating other
people's money as if it was his own. He was also a
compulsive gambler - regularly losing $100,000 dollars at
his weekly Hollywood card school. It's not surprising that
he was the only one in Hollywood mad enough to take a punt
Roger was a formidable challenge. His personality and
grasp of the material were intimidating for anyone who
dared to creatively purloin it. But even Roger wanted me
to direct, wary as he was of my 'final cut'. We were both
obdurate to a fault. Or as my longtime producer Alan
Marshall eloquently put it: "Two egotistical, opinionated
fuck-pigs who think they run the show when in actual fact
it's everyone else who does the work".
Then we moved on to what we feared would be our most
difficult shoot: the Nuremberg-style rally we'd conceived
for In The Flesh. Location-wise, we'd settled for the
reality of the Royal Horticultural Halls in Westminster,
with a specially built stage and a thousand flags bearing
Scarfe's crossed hammer symbol. Our problem was the
skinheads. How could we make them behave in a civilized
and safe manner? Stop them from being bored; stop them
from kicking everybody's heads in?
The toughest section of the skinhead crowd was a group
called the Tilbury Skins from South East London. We had
partially diffused the threat of real violence by
elevating this group to a more prestigious position in the
film as Pink's 'Hammer Guard' and we were going to use
this bunch of mostly amiable loonies as the nucleus of the
violence that was to follow. Our stunt co-ordinator had
been working with the skins for a month previously at
Pinewood, showing them the rudiments of film stunting and
the way to kick someone in the face without breaking their
nose and jaw.
Кто не видел, вот куски из фильма
Another Brick In The Wall
Run Like Hell & Waiting For the Worms
In the Flesh