it is all in Pink's mind. The song ends with the sound of a wall being demolished amid chants of "Tear down the wall!", marking the destruction of Pink's metaphorical wall. Film version The segment in the film version is a full-length animated sequence of vivid colour and disturbing visuals; the animation was originally used for the album's concert performances, before being reworked for the film adaptation. Political cartoonist Gerald Scarfe directed the design for the segment. The film segment relies not only on visuals, but also on the themes, music, and lyrics of the original song. Pink, himself, is portrayed as an almost inanimate rag doll throughout the sequence. Pink's schoolmaster, wife and mother and the prosecutor and judge are depicted as large and grotesque caricatures and are known individually by their role: The prosecutor is a caricature of a Victorian barrister. He is short and rotund, wearing a long navy gown which trails behind him, at points above his own head, such as when he leaps onto the wall (depicted as being composed of white bricks, as in the album's cover). His facial features are occasionally greatly exaggerated; depending on what he is saying. For instance, when he describes Pink's charges, during saying that Pink has experienced "feelings of an almost human nature," his face moves close to the camera and assumes a grotesque expression of disgust and contempt. The schoolmaster is brought down like a marionette on strings, controlled by his overbearing wife, referring to the earlier song "The Happiest Days of Our Lives." He has a long face with grey skin and two pointy tufts of hair on top, making his head somewhat resemble a hammer. The wife comes out from underneath the wall, represented as the scorpion/praying mantis that previously appeared during "Don't Leave Me Now." The mother comes in as an abstract, morphing image of an airplane (referencing the plane which killed Pink's father, and also the plane which Pink was playing with in "Another Brick in the Wall (Part I)"), and then transforms into a talking vagina, which then encircles Pink before morphing into a caricature of the archetypal mid-20th century British mother. As her verse ends, she transforms into the wall that Pink continues to be trapped behind. The judge is portrayed as a giant pair of buttocks — complete with two backwards facing legs, an anus for a mouth (with a