[SPOILER ALERT! If you haven't watched the Olympic Closing Ceremonies and don't want to know how it all went down, don't read any further.]
Wild film version of Pink Floyd's classic 1979 album about a rock star's traumatic life and alienation from the outside world. All music, no dialogue!
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Jimmy scores a rare television interview with Pink Floyd's Roger Waters. Part 1 of 2.
In 1975, Chilean director Alejandro Jodorowsky, whose films EL TOPO and THE HOLY MOUNTAIN launched and ultimately defined the midnight movie phenomenon, began
work on his most ambitious project yet. Starring his own 12 year old son Brontis alongside Orson Welles, Mick Jagger, David Carradine and Salvador Dali, featuring music by Pink Floyd and art by some of the most provocative talents of the era, including HR Giger and Jean 'Moebius' Giraud, Jodorowsky's adaptation of Frank Herbert's classic sci-fi novel DUNE was poised to change cinema forever.
For two years, Jodo and his team of 'spiritual warriors' worked night and day on the massive task of creating the fabulous world of DUNE: over 3,000 storyboards, numerous paintings, incredible costumes, and an outrageous, moving and powerful script.
In the words of Jodorowsky's producer, Michel Seydoux, 'It should have been enough. But it wasn't.'
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The story of THE WALL is told simply with the music of Pink Floyd, images and natural effects. There is no conventional dialogue to progress the narrative. Our story is about Pink, a Rock and Roll performer, who sits locked in a hotel room, somewhere in Los Angeles. Too many shows, too much dope, too much applause: a burned out case. On the TV, an all too familiar war film flickers on the screen. We shuffle time and place, reality and nightmare as we venture into Pink’s painful memories, each one a “brick” in the wall he has gradually built around his feelings. Slowly he withdraws from the real world and slips further into his nightmare as he imagines himself as an unfeeling demagogue, for whom all that is left is the demonstration of power over his unthinking audience, the culmination of the odious excess of his own world and the world around him. His internal self trail follows, as the witnesses of his past life, the very people who have contributed to the building of the wall, come forward and testify against him.
The story of THE WALL is told simply with the music of Pink Floyd, images and natural effects.
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