...We left in a group of six and spent the twenty minute ride listening to the crew's chit-chat. I heard why 'Welcome to the Machine' hadn't made it onto the video that had just been released. Floyd are allowed to play it but Rog still has a say in the matter concerning whether or not it goes on film. The same reason it wasn't to be playd in Venice which was to be filmed and sent out "live" to 27 countries.

...During a back-stage interview at Wembley (6th of August '88), and in reply to this whole affair David Gilmour said:
"Well, it's my job. What can I say? It's what I do for a living. Pink Floyd is the particular career that I've chosen and have been involved with for twenty years and without a good reason, I don't see why I should pack it in. I'm 42. I've got no intention of retiring. I've got no intention of jacking this in or anything else that I do. I have no idea what I'll feel like in the future. You might see us when I'm 60, I don't know. I mean, if it's fun and people wanna come see it, it's a privilege... I mean, I might have to work otherwise!"

Nick Mason said:
"People had the tendanct to sort of feel more that Roger held the regins and was the controlling influence but I think when he did og, there was still realisation that we 'could' carry on. Rog is very fond of saying, "No-one's indespensable", and er... he was right".

...I went across to Bob Mardon. He's the P.T.S driver and was responsible for those four clusters of light (pods) that horizontally and vertically moved across the stage. He told me that the guy in the 'Lapse' film is actually the same guy who look after David Gilmour's boat house/studio. The location used for the films was Grantchester Meadows, a place that's always been close to the hearts of the band. An inspiration place, responsible for many good tracks back in the early days.

About the 'eagle' (used during Learning to Fly) ... Apparently because it wasn't all that good, the crew had burnt it in Manchester ('88) on the carpark: they'd been carrying it around but not using it for too long.

Back-stage in Werchter (B), I'd seen a life size bulbman standing between two white pillars (a plastic fern plant on each). There were electric cables running up one leg,... Bob told me that it was used only to brighten up the dressing-room areas!

...Marc Brickman had worked with Roger Waters back in '84 when 'Pros and Cons' hit the road. He also had his hand in the making of 'The Gunner's Dream' film from 'The Final Cut' album ('83). Here he was again with the Floyd, this time as the lighting designer.

...Again Scott Page (Sax) was busy with his video camera. More than once I'd seen him filming the sound-checks. For his scrapbook, I imagine.

...About ten minutes before the gig started I saw Gary Wallis wandering around, mingling with the fans. Nobody expected one of the band to come out to the public so he managed to stay unrecognised. In only a few minutes everyone would be freaking to Gary's fantastic drum play but now they seemed to be annoyd at yet another gut pushing his way through.

...In Moscow, during 'Money', overenthustiastic fans began to throw coins at the stage. The whole band had to wear safety helmets before they could carry on.

As a point of interest, Floyd were carrying a second pig, the main difference being that on the one, the horns protrude and on the second they are drawn on. They were used at random. First one out the flight-case, type of thing.

...Knebworth: Before the band entered the stage, there was about 20 minutes of film shown on enormous video screens. Apart fromgetting a mini history of the Floyd (made up from clips and old b/w footage), we were also given some new scenes from the 'Lapse' film. The oarsman would sit on the floor, in the middle of an empty room and make rowing motions, with a glazed look in his eyes, as if reminiscing on things gone by ('Signs Of Life' was shown). He'd take a feather and stare through it, trying to hold on to some vague memory (we got 'Learning To Fly').