On Montage of Heck, we realized of course that we were doing something comparable to The Wall, in that we were integrating animation into live action. See and feel what she sees and feels, through animation. Our goal was to take the audience on a trip with Alma. If we had filmed it as a live-action series, there would be a clear distinction between reality and all the weird trippy stuff happening, which would create a clear distance between us and Alma. This could not be done without animation. It is never completely clear to the audience whether we are on a trip in Alma’s head, who might be suffering from schizophrenia, or if we are actually watching reality. The world feels very real, but also unreal, dreamy, and painterly. We film the actors first, then trace them and place them in an oil-painted world. In Undone it works in a really strange way, because the actors are rotoscoped.
THE WALL PINK FLOYD SERIES
I used animation to depict psychosis and delusions in my short films Seventeen and Junkyard, and in the Amazon series Undone (with showrunners Kate Purdy and Raphael Bob-Waksberg).
But I found out through The Wall, and other animated films, that animation is also an excellent medium for blurring the barriers between dream and reality and showing the inner world of a character. I would say that most animation is made for family entertainment and comedy, probably because animation lends itself so well to very physical humor.
Nowadays I have more nuanced world views, no worries. In hindsight, I probably felt exactly that way because I had seen The Wall … It’s really hard to know after so many years. That was exactly how I felt: squeezed through a meat mincer by society, to flawlessly fit within the system and be part of a shapeless uniform mass, together with my peers. Faceless students are being squeezed through a meat mincer by a frustrated teacher. It contains a great piece of animation which perfectly illustrated how I saw society and school. The film also fit very well with my bleak view on life at that time. The animation sequences were even trippier than my own trips! The Wall completely romanticized my self-pity and made it all look fantastical, beautiful, and trippy. I was stoned, I was nervous and depressed, and the pot seemed to change my perception in very dark ways, creating confusing hallucinations and delusions. I was fifteen and I was smoking marijuana on a daily basis. Here was an insanely beautiful film that was about me! About my rich adolescent inner life! About the pain and depression and craziness that I felt. I was immediately overwhelmed by the music and the animation. Tracks such as " Another Brick in the Wall (Part 2)," " Empty Spaces," and " Outside the Wall" all represent Pink's additions to and eventual removal of his metaphorical wall with which he surrounds himself.I remember seeing Pink Floyd - The Wall on a videotape during a visit to a pot-smoking friend of my parents. The plot summary laid out by, a website devoted to offering an interpretive lens to every single track of The Wall, follows the life of a person named Pink Floyd - bereaved of his father during World War II, consequently subjected to an over-protective mother and other emotional turmoil, to finally becoming an isolated rock star.
Waters found the tour alienating, as he'd tell Tommy Vance in a 1979 interview: "I became very conscious of a wall between us and our audience and so this record started out as being an expression of those feelings." So as a type of therapy, Water began to write about it and from there, a script for the story behind The Wall emerged and the album, naturally, begins with " In The Flesh." Tackling Roger Waters' brainchild, however, brings us to the end of Pink Floyd's 1977 In The Flesh Tour. One of Pink Floyd's most iconic albums and 87th out of Rolling Stone's 500 greatest albums of all time, The Wall is THE concept album to end all concept albums.
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