of the nature of the material (one of the primary themes is the distance between an artist and his audience) Waters balked at this. Discord in the band On tour, relations between Gilmour, Mason, Waters and Richard Wright were at an all-time low: their four Winnebagos were parked in a circle with the doors facing away from the centre; an isolated Waters used his own vehicle to arrive at each venue and stayed in separate hotels from Gilmour, Mason and Wright. Despite having left the band upon completion of the album, Wright agreed to complete the tour as a salaried musician, and consequently ended up being the only member of the group who made any money from the venture. "I did not just want to walk out on this great thing I'd been working on," he recalled. "I just decided I'd go out and play my best, possibly with the hope that, if it worked out, [Waters'] decision to have me out could have been reverted." Concert film The idea to include live concert footage of any significant length for The Wall film was dropped shortly before the final shows took place. There are conflicting statements regarding the professionally filmed footage. It had been widely believed that 'the wrong type of film' had been used and the results were dark and murky. Mark Fisher, partly responsible for designing the show said the footage was: 'very dark and horrible and boring and should be burned'. Alan Parker himself said: '[the filming of the shows were] five blown opportunities'. These rumours were partially scotched when the Channel 4 documentary 'Behind the Wall' (2000) used perfectly clear footage from the 1981 concerts. 27 February and 9 August 1980 concerts were shot on videotape. David Gilmour has stated in an interview that only three tracks were captured on film: Roger Waters said on an episode of In the Studio with Redbeard which devoted two parts to the making of The Wall that "the London shows in 1980/81 were filmed and he had all of the footage and was thinking of putting it together to be released. However felt extremely reluctant to release the concerts on the video cassette format". He also would have to refer to the shows as a document of what went on. In the December 2009 issue of Mojo, Roger Waters revealed that he had 'discovered a whole load of new