The Most Comprehensive List of Pink Floyd Movie Connections on the Web

Formerly known as Pink Floyd Secrets and Synchronicities

Web Page Originally Introduced 4/16/1998

Web Page Last Updated 4/16/2000

acwendland@yahoo.com

With Contributions from Jeff Stillman and Kenny Dreamx

During the latter part of 1997, I heard a rumor that when Pink Floyd's masterpiece Dark Side of the Moon (DSotM) is played while watching the 1939 film classic The Wizard of Oz (TWoO), several connections or synchronicities between the two appear. These connections included the lyrics, the song titles, the mood and timing of the music, and even the cover art. A friend of mine sent me a list of several connections, and I became immediately intrigued. That night I bought a copy of the film and tried the experiment. It was absolutely fantastic! It was way better than I had envisioned. I was extremely impressed with how well the synchronicities lasted through the entire album. So, after watching a few more times, I was absolutely convinced that it was an intentional creation by the band. (I am definitely in the minority in regards to this. Most people think it's all a coincidence.) As an engineer, I asked myself a simple question, "How would they accomplish this task?" They would have to obtain a reel of the film and a projector. How hard would that be for a successful rock band to do? Not that hard considering they had friends in the movie business. Pink Floyd had performed on at least three movie soundtracks already with More, Zabriskie Point, and La Vallee (The Valley Obscured by Clouds). How did Pink Floyd get the idea? Consider this quote taken from the CD booklet for the Zabriskie Point Soundtrack (page 24) when Don Hall describes how Jerry Garcia created one of the songs: "We went into the large studio at M-G-M, which they usually used for the symphony orchestras. And Jerry sat there by himself, on a stool, laying it down. They had the love scene on a loop, and he played live while the film was running. He didn't want to do it away from the film and then cut things in. He played right to every single shot in the scene. That's why there are certain notes over certain frames, over people moving in the desert. He played right while watching it. It was miraculous -- pure genius." Has the band left clues to point to the DSotM/TWoO synchronization? Consider these facts listed in the Shine On book from the box set: "1969 - Judy Garland found dead in her London flat. 1971 - Editors of OZ are charged with obscenity at the Old Bailey. 1971 - Pink Floyd premiere 'Eclipse,' later to be named 'The Dark Side of the Moon' at the Rainbow Theatre." I don't think I need to remind anyone about the biggest song of TWoO, "Somewhere over the Rainbow."

The thing I noticed about DSotM was that the album had one central theme and the songs flowed from one to the other, unlike most rock albums that have distinct breaks between songs. I then realized that several Pink Floyd albums exhibit the same characteristics of one central theme, songs flowing together, and elaborate artwork. I thought to myself, if they truly created the DSotM/TWoO Synchronization, then maybe they did it again. I went to visit my friend Jeff Stillman, who knows a lot about movies, to tell him my thoughts. I wanted to create a list of the biggest, most popular, or most important movies of all time. Our list was something like this: Gone with the Wind, Casablanca, It's a Wonderful Life, The Ten Commandments, and The Sound of Music. So, I went to video store and rented a bunch of movies. The main album I was targeting was Wish You Were Here (WYWH), the follow-up of DSotM. I remember trying Animals with Animal Farm that night. It didn't work. However, my friend Jeff found a connection between Wish You Were Here and one of our listed movies. He told me about it the next day, and after a week or so, he had written up an excellent essay explaining the connections, which is included on this page. From this point further, I began my search for a movie synchronization for each Pink Floyd album, and this web page is the result of my efforts. I only include on this page what I feel are intentional synchs created by the band.

I have discovered several more movie synchs since the last time I updated this page on 11/7/98. I've wanted to share these but have held off until I completed the puzzle. Below I reveal the remaining synchs and describe a total of 13 intentional Pink Floyd synchs spanning 11 albums.

Here is a list of the albums and movies. See if you can match them together correctly.

Ummagumma - Studio Album (1969)

Atom Heart Mother (1970)

Meddle (1971)

Obscured by Clouds (1972)

Dark Side of the Moon (1973)

Wish You Were Here (1975)

Animals (1977)

The Wall (1979)

The Final Cut (1983)

A Momentary Lapse of Reason (1987)

The Division Bell (1994)

Gone with the Wind (1939)

The Wizard of Oz (1939)

Casablanca (1943)

It's a Wonderful Life (1946)

Alice in Wonderland (1951, animated Disney classic)

Sayonara (1957)

GiGi (1958)

The Longest Day (1962)

Doctor Zhivago (1965)

The Sound of Music (1965)

Planet of the Apes (1967)

2001 (1968)

A Clockwork Orange (1971)

If you are interested in finding the album/movie combinations on your own, read no further. In this section, the Pink Floyd albums are listed in chronological order with the corresponding movie. In most cases, only part of the movie lines up with the album, but in a few cases the entire movie can be played to music. A detailed description of each synch appears after this section.

Along with each album and movie, I list my rating (grading) of the quality of the synchronization.

The Piper at the Gates of Dawn (1967)

• no movie connection

A Saucerful of Secrets (1968)

• no movie connection

More (1969)

• soundtrack to the movie More

1. Ummagumma - Studio Album (1969) with GiGi (1958)

• synch grade = A
• discovered by Andrew Wendland
• synch length = album length (approx. 47 minutes)

Zabriskie Point (1970)

• soundtrack to the movie Zabriskie Point

2. Atom Heart Mother (1970) with Doctor Zhivago (1965)

• synch grade = B
• discovered by Andrew Wendland
• synch length = album length (approx. 52 minutes)

3. Meddle (1971) with Gone with the Wind (1939)

• synch grade = B+
• discovered by Andrew Wendland
• synch length = album length (approx. 47 minutes)
• Meddle is a codeword for Medley

4. Meddle's "Echoes" (1971) with 2001's "Jupiter and Beyond the Infinite" (1968)

• synch grade = A
• discoverer unknown
• synch length = song length (approx. 23 1/2 minutes)

5. Obscured by CLOuds (1972) with A CLOckwork Orange (1971)

• synch grade = B
• discovered by Andrew Wendland
• synch length = album length (approx. 40 minutes)
• soundtrack to the movie La Vallee (The Valley)

6. Dark Side of the Moon (1973) with The Wizard of Oz (1939)

• synch grade = A
• discoverer unknown
• synch length = movie length (approx. 1 hour 41 minutes)

7. Wish You Were Here (1975) with It's a Wonderful Life (1946)

• synch grade = A
• discovered by Jeff Stillman and Andrew Wendland
• synch length = movie length (approx. 2 hours 12 minutes)

8. Animals (1977) with Casablanca (1943)

• synch grade = A
• discovered by Andrew Wendland
• synch length = movie length (approx. 1 hour 43 minutes)

9. The WALL (1979) with ALice in WonderLand (1951, animated Disney classic)

• synch grade = A
• discoverer unknown
• synch length = movie length (approx. 75 minutes)
• must skip the song "Comfortably Numb" on the album
• 75 minutes divides evenly into 25 songs (75/25 = 3)
• songs in the Pink Floyd movie The Wall

10. The Final Cut (1983) with The Longest Day (1962)

• synch grade = B
• discovered by Andrew Wendland
• synch length = album length (approx. 43 minutes)
• side 1 of the album at the beginning of the movie (6 songs); side 2 of the album at the end of the movie (6 songs) -- a "final cut"

11. A Momentary Lapse of Reason (1987) with Sayonara (1957)

• synch grade = B
• discovered by Andrew Wendland
• synch length = movie length (approx. 2 hours 28 minutes)

12. The Division Bell (1994) with The Sound of Music (1965)

• synch grade = B
• discovered by Andrew Wendland
• synch length = album length (66:33)

13. The Division Bell (1994) with Planet of the Apes (1967)

• synch grade = B
• discovered by Kenny Dreamx
• synch length = album length (66:33)

In October of 1997, my friend and co-worker Andrew Wendland sent me e-mail about the strange coincidences that exist between Pink Floyd's The Dark Side of the Moon album and The Wizard of Oz. The e-mail doesn't say when the connection was first made, but it's probably old news by now.

Still, it was new to us, and it got Andy thinking that maybe there was another Pink Floyd album synched up with another movie. In fact, he thought Wish You Were Here, the follow-up to Dark Side, might be a perfect candidate.

Now, I don't own every Pink Floyd CD like Andy does, and I haven't been to a single Pink Floyd concert like he has, but I do like a good mystery. And I know a lot about movies, especially old movies. That's why Andy called me.

We threw around some ideas over the phone to try to narrow the field - looking at the album cover and the lyrics, looking at what type of movie The Wizard of Oz had been... We came up with a handful of movies.

I happened to own one of these movies, and I had a copy of Wish You Were Here, so after Andy hung up, I gave it a try. To be honest, I wasn't expecting to find a connection to any movie, much less this one, so I wasn't about to spend the next month of my life looking for one. I said I'd give this movie five minutes to show me something. But what a first five minutes it was...

Still, I was a bit disappointed after the first few scenes. I was looking for lyrics that matched up with screen action, or scenes that ended when songs ended, and I didn't find many. But Andy was sure we'd nailed it, so we both watched it a few more times. And by the end of the week, I agreed with him.

Now, for all we know, we're behind the times again. Maybe someone already figured this out. But maybe not. So here it is, for your viewing and listening pleasure... we present to you Pink Floyd's Wish You Were Here, and Frank Capra's It's a Wonderful Life.

P.S. We have included our own list of connections, as well as a sort of "thesis" on the similarities between the two works. Mostly in case you think we're full of it, but also for your reading pleasure.

If you haven't seen It's a Wonderful Life in a while, we suggest you watch it straight through. The song lyrics may bring to mind certain lines, scenes or themes not shown in the first 45 minutes. The music also makes more sense if you know what the scenes are about. That way, you can watch the movie with the sound off when you play the CD. And hey, it's a great movie!

The exact starting point is a subject of debate between Andy and myself. The picture is not an MGM release, so you're not synching up the CD with the lion's roar this time. For all we know, neither of us got it exactly right, but try it both ways. The point is that you should be listening to how well the music fits the mood of the scene, and how well the lyrics relate to the character of George Bailey.

Jeff's way: Pause It's a Wonderful Life just after the "Republic Pictures" eagle disappears. (This is the moment before the bell starts ringing to open the picture.) Start the CD/tape. About 10 seconds after the synth and a sort of "cosmic rainfall" sound begin, you'll hear what sounds like an arcade game laser blast. Unfreeze the movie after you hear this sound. (The way you know you've got it right is if the book appears at the same time another synth enters the composition.)

Andy's way (updated): Start the CD at the very beginning of the movie. Repeat CD until the end of the movie.

For the sake of reducing confusion, the connections listed below are based on Jeff's way.

Watching the movie and listening to the music

1. The book appears with the entrance of a synthesizer. The synthesizer drops out as the book disappears.

2. The book is replaced with scenes of snow falling, and there is a "tinkling" sound that sounds like rainfall or snowfall.

3. The heavens appear as the first guitar begins playing.

4. Clarence the Angel (Second Class) is symbolized by a star. When he speaks, the star becomes diamond shaped.

5. The heavens scene fades out with the end of "Diamond Part I." "Part II" begins as the screen starts to go white with the guitar line "B flat - F - G - E."

6. The sledding scene is pretty well synched up to the guitar and drums. The music turns ugly when Harry Bailey falls through the ice.

7. "Diamond Part IV" features a "crying guitar" solo. The music fits with Mr. Gower's grief at having lost his son.

8. "Remember when you were young" is sung while we're looking at the young George Bailey. "Shine on you crazy diamond" is sung during a close-up. (*See note 16.)

9. "Part V" begins with the second of two sax solos. The transition occurs at the same time as the transition from the young George to the old George.

10. Before "Welcome to the Machine," there is a sound of a motor running. The scene at this point is a street in Bedford Falls - specifically, of George and Bert the cop standing outside Ernie the cabdriver's idling cab.

11. "Welcome to the Machine" begins with the dinner scene at the Bailey household. The whole scene is nearly the same length as the song. (*See the discussion of the lyrics.)

12. At the end of Side 1 of the album, we hear dialogue from a party scene. As the dialogue begins, George is at a high school party. He looks across the room and sees Mary. As they move towards each other, the background noise gets quieter. When they are face to face, it stops.

13. At this point, "Have a Cigar" begins, and George and Mary start dancing. This is the only dance scene in the movie, and it seems at times to be choreographed with this song, the liveliest on the album.

14. The dialogue after "Have a Cigar," held between a man and a woman, takes place during a conversation between George and Mary.

15. The Granville House scene with George and Mary fits the mood of "Wish You Were Here." The scene is about their wishes, and Mary actually wishes that George were there, living in the house with her. (*See the discussion of the lyrics.)

16. "Diamond Part VI" begins with the sound of the wind, as if a storm is brewing. Inside the Bailey Building & Loan, Mr. Potter is beginning his tirade against the B & L and Pa Bailey. The dark music starts up as he really gets going, and then George tears into him in response. The whole scene should really be watched with the TV volume up for the full effect.

17. "Part VII" returns to the line "Shine on you crazy diamond." This time, we get a close-up of the adult George.

18. "Part VIII" is a sort of 70's shuffle, music that fits the mood of the Harry Bailey wedding party scene, with George hanging out on the porch.

19. "Part IX" is somber and reflective. It starts when Ma Bailey tells George to go out and find some answers for his life, and continues as George wanders through the town looking for them. The music finally gets bright again when he arrives at Mary's house. After all, Ma said that Mary was the sort of girl to help George find them.

20. Side 2 ends the same way Side 1 ends - with George looking at Mary from a distance, and then coming face to face.

Oh, and one more thing...

About six seconds into the party dialogue after "Welcome to the Machine," a man yells out a name. We swear he says "George Bailey."

by Jeff Stillman and Andrew Wendland

Musical connections aside, there is a great deal that can be said about Wish You Were Here and It's a Wonderful Life...

The song lyrics can all be associated with George Bailey. That is not to say that every word is about him, but there are enough similarities to suggest that scenes from the film were at least starting points for the songs.

In fact, simply retelling George Bailey's story through music and lyric would probably not have been satisfying enough for lyricist Roger Waters. Consider instead that in at least two of the songs the imagery is of a band, or of a rock star. It is an interesting journey to read the lyrics with the idea that perhaps Waters is associating himself - or the band - at this post-Dark Side stage of their career... with George Bailey.

Shine On You Crazy Diamond (Parts I-V)

The first three lines set up the premise of the film: George Bailey is about to commit suicide, and we are about to be treated to a flashback of his life. We see him as a child, then as a young man, talking in scene after scene about his plans to travel, go to college, and build great things. (The phrase "Remember when you were young, you shone like the sun" appears during the first of these.) Of course, we know he never gets out of Bedford Falls. His first opportunity to do so is cut short before it begins by his father's death, Before long, his filial (or "childhood") duty to his father and what he stood for has eclipsed his chance at any "stardom" outside that town. And by the time the flashback has ended, he is standing on a bridge with a look in his eyes of despair and emptiness, ready to give up his life.

The first three lines of the second verse are not as clearly about George, although there is a reference to the moon, which becomes the subject of a painting by Mary. It is the symbol of all of George's aspirations, and a reminder of his failure to achieve them.

As for the "Come on you..." lines, at least a handful of these words can be immediately related to George. He was a "seer of visions," though now he finds himself a "prisoner" of Bedford Falls. He is at times a "raver," ("Am I talking too much?") though he was more a sort of pied "piper" during the panic of the Depression.

"Welcome To The Machine" begins during the last scene where we see Pa Bailey alive. During this dinner scene, Pa asks George to consider working for the Building & Loan. George objects strongly, but within ten minutes of film time he will find himself replacing his father at the B &L - for the rest of his life. But it is his father's invitation to him that the first line of the song echoes. An invitation to join the working world, to run a business "of nickels and dimes" where he has to fight to "scrape together three cents just to light the pipe," and to be ground down as his father was before him so that in the end he too has to "crawl to Potter." "Welcome my son, welcome to the machine."

("What did you dream," George? Never mind that now..."we told you what to dream.")

So what then of the imagery of a rock and roll star? On the strength of The Dark Side of the Moon, Pink Floyd had become commercially successful. If there were ever an apt metaphor for the music industry, it would be the machine. And even if Pink Floyd had managed to avoid it until 1973, there was certainly no escaping it now.

But perhaps Roger Waters knew from the beginning that there would be no escape for the band... or for him. Perhaps the song is more about his own life, that from moment he bought his first guitar, he had become part of the machine...

Come in here, dear boy, have a cigar." The words could easily have been Mr. Potter's, merely trimmed from the final film to keep it under two hours. We pick up the scene with George already in Mr. Potter's office, with Mr. Potter lighting the cigar for him. The rest of the scene is Potter at his most manipulative, trying to inflate George's ego, to give him such a big head that George will sign his life over to Potter - without realizing the consequences. "You're gonna go far, fly high... I've always had a deep respect, and I mean that most sincerely..." These could easily be substituted for his actual lines.

Here again, the first three lines give way to imagery of a band. And here again, the seductive charm of Mr. Potter might well have been a record executive in Pink Floyd's past. The idea is the same - the sweet-talking man with all the money and power dangles a contract before the young idealist. But while George Bailey turned him down, Roger Waters and the band did not. Years later, their Mr. Potter would pressure them to match the success of Dark Side - with its "sell outs," sales one could "hardly count," and its weeks on "the chart" - with their next album. This one.

The first stanza asks the question, "Can you really tell what's good from what's bad?" The second asks, "What did you give up, and what did you get in return?" These questions are the heart of the film. George Bailey finds that his darkest hour is only a moment away from his brightest. He gave up his heroes in the National Geographic Society for the ghost of his father, and his bad ear kept him imprisoned in Bedford Falls while his brother became a war hero, but he was not a failure. What he got in return was a town of friends, and "no man is a failure who has friends."

But who is the speaker? Who compares himself to George in the third verse? Who is the "I" of "How I wish you were here?"

Clarence the Angel (Second Class) does the asking in the film - "So you still think it would be better if you hadn't been born?" Is it his wish that George will find that his life is worth living, and wish again to be here - here in Bedford Falls? For Clarence is himself a sort of lost soul, trying for the last hundred years - "year after year" - to earn his wings, and he can do it by saving George. And yet, Clarence doesn't have any "old fears," at least that we can see...

What about Mary? After all, the song occurs during a scene she shares with George. A scene where she makes a wish outside the old Granville House - that she and George will someday live there as husband and wife. She literally wishes to herself, "How I wish you were here... with me" And then again, as he drives away to be with his father, we can see she wishes he was there with her. The two of them swim around in the tiny fish bowl of Bedford Falls in scene after scene, year after year, with the same old fears - George that he'll never get out; Mary that he will.

But the songs to this point have had an order to them - the same order as the scenes from the film that they echo. And if "Have a Cigar" is truly a reference to the scene with Mr. Potter, then the Granville House scene with Mary has already passed. Besides, the first two verses do make more sense once Clarence shows up and asks George to reevaluate his life. But if not Mary, and if not Clarence, then who's left?

Well... if the previous two songs are not just about the movie, perhaps this one isn't either. And if the previous two songs were about a rock star, maybe this one is too.

In the early seventies, "It's a Wonderful Life" began its run on public television. Year after year, George Bailey would run over the same old ground, facing the same old fears, on display in a thousand TV sets like a fish in a fishbowl. And year after year, Pink Floyd was on display on concert stages, covering the same musical ground, visiting the same arenas. What fears did Roger Waters have, and was he searching for another lost soul to share them with? If he identified with George Bailey, then why not George? Why not wish that George was here - a real person, here on Earth? "Wish you were here."

The first verses from "Diamond" were all about "You." These next verses are about "You" and "I"... and "We." If the album has indeed been the story of George Bailey and Roger Waters, then it reads like the movie, like the album, has come to the end:

Nineteen seventy-five. No one knows where "George Bailey" has been these past twenty-one years. Is he forever trapped in the video in the VCR, or is he somewhere else entirely? Where does a movie character go when the movie is over? The movie reel or the videocassette is stored somewhere, gathering another layer of dust before it is brought out again. The newly completed Wish You Were Here album will soon find itself on its own shelf, piling on its own layers. But Roger Waters and George Bailey will find themselves together somewhere, and they will remember the triumphs of the past. The Dark Side of the Moon, perhaps, for Waters, and for George... that he really did have a Wonderful Life.

Shine on, you crazy diamonds.

The back cover uses three symbols from the movie, all of which appear while Wish You Were Here is being played. The man is wearing Mr. Potter's bowler hat, he is holding out Mary's "Buffalo Gals" album, and he is standing on George's suitcase. A suitcase that obviously has "plenty of room for labels."

As for the man himself, the lack of a face, arms and legs does not necessarily mean he is an invisible man. Why not simply a man who doesn't exist? After all, the plot of the movie is that George Bailey finds out what life would be like if he never existed.

The man diving into a lake is suggestive of George Bailey's headfirst dive into the river to save a drowning Clarence.

The front cover is still a mystery. The handshake between the two men takes place on a movie back lot, which could be meant as the first clue that this album is connected with a movie. The side of the frame is warped and burnt in much the same way an old film negative might be.

But who are the men?

Drawing on the analysis of the lyrics, could it be Roger Waters (or a representation of "Pink Floyd") shaking hands with George Bailey?

As the band plays "Shine On You Crazy Diamond" to open their Pulse concert video, the stage is framed by an image of the heavens. Did the band once again quote the film, pulling the image from the opening scene? What of the image of a boy diving into a petal-filled lake that looks like the icy water that George dove into? Or two images of the boy superimposed in water, like George pulling his brother from the pond?

Maybe it's a coincidence. But maybe it just goes to show that the whole band was in on the secret, and they're all just sharing another inside joke with George Bailey...

Big Clue: Look at the album cover.

Start CD after third roar of MGM lion. Music should start slightly after credits start.

GiGi soundtrack is on the cover of Ummagumma.

You might notice that uMMaGuMMa conveniently contains MGM in it, and GiGi is an MGM movie.

Man's facial gestures, walking, hand movements match the piano part.

Man points at two women riding during a sudden loud crashing sound.

Girls playing match the speeding up of music and percussion.

Little girl with umbrella turns around during strange sound.

Hear what sounds like cats meowing (guitar effects), while a cat is on the screen.

Drum roll begins when main character appears and ends when he puts on his jacket.

Music matches facial and hand gestures of both men during horse buggy ride.

Music climaxes under Eiffel tower.

Pleasant music plays when man visits GiGi's guardian, her grandmother.

Roger Waters chants during GiGi's singing part. Matches pretty good with scene.

Weird sound effects occur when bottle of wine is brought over to the table, opened, and poured.

Song lyrics describe the situation between the man and his girlfriend perfectly.

Music gets louder when the girlfriend and her trainer rise up from the table together.

Percussion part matches women talking after phone call. (Sounds like Morris code.)

Man's hand and facial gestures during drinking scene match percussion.

Horse dances to the percussion part.

The last song is appropriately named "The Grand Vizier's Garden Party" as the music closes during the party scenes.

Start CD at beginning of Overture, if watching a very old copy of Doctor Zhivago with original length Overture. (Overture has a nice scenic background in this version.)

Or, if watching a new copy of Doctor Zhivago (such as 30^th Anniversary), start CD and play it for 32 seconds before starting movie at beginning of Overture. (Overture is 32 seconds shorter than original and has boring screen background.) Probably 99% or more of the copies out there have the shorter Overture.

Examine artwork of 1994 re-mastered CD while watching movie during this song.

"Father's Shout" refers to Zhivago's poems; he is the girl's father.

"Breast Milky" refers to Lara, Zhivago's lover, the girl's mother.

"Mother Fore" refers to the mother before, Zhivago's mother, who died when he was a young boy.

"Funky Dung" artwork shows the image of shovels, symbolizes the burial of Zhivago's mother.

"Mind Your Throats Please" artwork shows the image of a beautiful musical instrument, similar to the beautiful instrument Zhivago inherits from his mother.

"Remergence" is the retelling of Zhivago's life.

Music and singing sound Russian; the movie takes place in Russia.

Music goes back and forth between instruments during initial conversation with girl.

Music matches leaves blowing in the wind.

Guitar plucking during scene where young Zhivago is given beautiful string instrument.

"Silence in the studio" is announced when the boy is in bed getting ready to sleep.

Each verse lines up with a different scene with these characters:

Verse 1 - Lara

Verse 2 - Dr. Zhivago

Verse 3 - Lara's mother

Verse 4 - Lara

Verse 5 - Lara and her tormenter

Starts just after man closes door.

Marching people fit with the music.

Dancing matches music.

Music ends when scene ends.

Second time "A silver sound" is sung, the sword blades are swung.

Song ends when scene ends.

Water dripping as tears drip.

This song has several sound effects that match gestures in the scenes.

Bottle noises occur during scene where Lara's boy friend pours iodine on his face.

Crackling noises occur during cigar lighting.

Music changes as scene changes.

Piano playing in song as pianist is performing.

Water and dripping sounds end the album as the doctors pump the woman's stomach. (Lara's mother tried to commit suicide.)

Start CD at the beginning of the movie's Overture.

Wind blowing at the start of the song. Song ends as the credits end. It is timed perfectly.

Country song starts right when intro story appears on the screen.

"Hill's too steep to climb" during a scene where Scarlett and her father look out at the hilly landscape.

Whistling in song when she puts on a dress.

Cheering ends when she turns around with an angry look.

Song's tempo fits scenes.

BIG CLUE: "Gone with the Wind" is one of the lyrics in this song, no kidding.

"Leading me down" as Ashley is lead down the stairs.

"I hear your soft voice calling me" could almost be Ashley talking to Melanie.

Dogs barking symbolize the men (dogs) going after Scarlett.

Quiet beeping matches Scarlett's eyes going from guy to guy.

Percussion matches her sneaking around and down the stairs.

Long instrumental during big scene between Scarlett and Ashley. Music fits scene.

Eerie sounds play as Ashley and Melanie kiss... continues to Scarlett's marriage to a man she doesn't love. Wind blows. Crows can be heard during conversation between Scarlett and her mother, as they mourn the loss of Scarlett's first husband.

Music slowly changes mood as scene changes to the dance.

Music becomes more upbeat during scenes between Scarlett and Rhett. Changes in pace of music matches dancing.

Album ends with Scarlett trying on a gift from Rhett.

In the re-mastered CD on page with Seamus is an item with "Captain" written on it. Two of Scarlett's husbands were captains.

Start CD at the beginning of the Warner Brothers shield.

"When you're on the street" during scene with people on the streets of Casablanca.

"Looking over your shoulder" as woman looks over her shoulder.

"Just another sad old man" as an old man appears on the screen.

Dogs barking on album as the dogs of war talk in the movie.

"Stand my own ground" as main character Rick is looking down at the ground.

"Who was given a pat on the back" when Rick pats the piano player Sam on the back.

First pig is the French pig, the French officer.

"Good fun with a hand gun" when man is shooting pistol in Rick's club.

Rick sits down at table with three pigs (different ones).

"Hey you White house" as pig with white uniform walks to table.

Casablanca means white house in Spanish.

Bahh-ing of sheep when "good guys" are conversing.

Long vocal notes when camera is focusing on Ilsa, Rick's long lost love.

"What a surprise! A look of terminal shock in your eyes" when Rick sees Ilsa in his club after many years of wondering what happened to her.

Synthesizer synchs up well with spotlight in dark room.

Prayer is spoken in the song during scene with Rick in the dark.

"Bleating and babbling" as Rick drank more and more.

"March cheerfully out of obscurity into the dream" as Rick starts dreaming of the life he once had with Ilsa.

Music becomes more upbeat as he dreams.

The music fits the movie perfectly.

"A shelter from pigs on the wing" as a plane flies overhead.

Start the first CD at the beginning of the movie, right when the music of the movie starts. When it is complete, pause the movie. Start the second CD and unpause the movie at the same time. Also, you must skip "Comfortably Numb" on the second CD for the synch to work properly.

Alice in Wonderland

ALice in WonderLand

Wonder (ALice) Land

W (AL) L

The WALL

Alice cradles the cat like a baby during the crying in the song.

"And the sky may look blue" as Alice looks up at the blue sky.

"Baby blue" as a blue bird flies by.

"Don't be surprised, when a crack in the ice" as Alice sticks finger into the water creating ripples.

"A snap shot in the family album" as Alice looks in a book.

Guitar part goes nicely with Alice rocking in the chair.

There are bricks in the wall towards the end of her fall.

There is a faint yelling when the door knob (with a face) is grabbed.

"By pouring their derision" while the tears flow from Alice's eyes.

Sea creatures dance to the beat.

The bird represents the educator. "Teachers, leave the kids alone."

"Mother, do you think they'll try to break my balls?" when two balls appear in the sky: the sun and the moon.

Walrus represents the politician. "Mother, should I trust the government?"

"Hush now baby, don't you cry" as mother clam watches over baby clams.

"Mother, will she tear your little boy apart?" when sign appears that says 'Oysters on the half shell.'

"Did you see the frightened ones?" - bird looks frightened.

Horsefly rocks to the beat of the music.

Crashing sound as water spills on Alice.

The sounds of cars passing by matches the letters floating by.

Heavy breathing as caterpillar blows smoke letters.

"Don't leave me now" as Alice leaves him.

Music intensifies as Alice gets really huge.

"Goodbye" as Alice follows signs for a way out of Wonderland.

"The wall [of smoke] was too high, as you can see."

"And the worms ate into his brain." The crazy man's hair almost looks like worms.

Tinkling noise as fireworks tinkle.

"I've got wild staring eyes" as rabbit's eyes bug out.

"Time to go...time to go..." is one clue to skip the next song "Comfortably Numb."

On remastered CD set, there is a minus sign next to this song, "6. Comfortably Numb -(6:23)" indicating that it should be skipped.

The title of this song is another clue that "Comfortably Numb" must be skipped.

Pink cat symbolizes the character Pink Floyd.

"Another with spots" refers to the cards.

Cards march to the beat of the music.

Both the movie and the album end with a trial.

Music is very peaceful after she wakes up from the dream.

Start CD at beginning of movie, just before Marlon Brando's name appears.

Several aspects of the lyrics apply to the movie.

Learning to Fly. Brando is a pilot in the film.

The Dogs of War describes the bad things that the military does to its enemies as well as its own.

The music changes as the couple kisses. At the beginning of One Slip, the alarm sounds as the couple kisses a third time.

One Slip describes events that happen later in the film. Brando's character falls in love with the lead Asian dancer, and his life changes dramatically.

On the Turning Away "...from the pale and downtrodden" is sung as a pale-faced dancer is down on the ground.

During part of the dance, he whips his head around to the beat of the music.

Yet Another Movie is a hint from Pink Floyd that they have done it again, despite Roger Waters absence from the band.

A New Machine describes Brando's character.

Sorrow. Music synchronizes beautifully with the dancers.

Start CD after the 20^th Century Fox logo, just as the actual movie starts to fade in.

Wind blowing as in the movie.

Pleasant music fits with pleasant scene.

The nuns enter the church.

"What do you want from me" is song during the prayer scene; people often ask this question of God.

"Even walk on water" is song during church scene; Jesus walked supposedly on water.

Singing women on album as nuns are singing in church.

Maria is "poles apart" from the way she wants to live her life and the rules of the life of a nun.

Circus music starts playing as Maria comes running into the monastery late.

Maria is, in a sense, "marooned" with seven children, out of the safety of the monastery.

This song describes some themes in the movie.

The lyrics describe the Captain perfectly.

This song describes the teenage love between the oldest girl and her boyfriend.

This song synchronizes beautifully with the romantic scene between the two teenagers.

"Outside the rain fell dark and slow" while it was raining.

This song is during the scene when Maria is trying to calm the kids during a thunderstorm by playing a little talking game. The kids are at ease as long as Maria "keeps talking."

*** PAY EXTRA ATTENTION TO THE FOLLOWING SCENES! ***

Once again, the lyrics describe the Captain.

The children are playing with a ball.

Maria is teaching the children to sing using a classic guitar.

The kids are dancing in the field.

The group is riding bikes.

They run along side a river, which later in the movie they ride in a boat down the river.

They run through town to explore statues, water fountains, and buildings.

They run in a V-pattern at one point.

Now it's time to watch the song High Hopes on the Pulse video. This is a list of things that happen in the music video projected on the big screen behind Pink Floyd:

There are images of buildings.

People are riding bikes.

People are running through fields.

Classic guitars are flowing down a river.

Kids are in a circle playing with a ball.

Men are carrying a statue.

People are going down a river in a boat.

Kids run in a V-pattern.

All of these similarities are during the same song, High Hopes. What are the chances of that being pure coincidence?

Start CD after the 20^th Century Fox logo, just as the actual movie starts to fade in.

On the cover of TDB is an ape like face. Open the CD booklet to the song Keep Talking, and there are the monkeys together that make an ape face. In the book "Mind Over Matter" by Storm Thorgerson, go to page 139. In the black cape you'll see an ape face. Stephen Hawkings saying that "Mankind lived just like animals" on TDB song "Keep Talking". And at the very end of TDB CD if you turn the volume all the way up. You'll hear a conversation that synchs up magically with the movie. "Is that you, Charlie?" referring to Charlton Heston. It's a trip!

The song titles describe what's going on in the movie.

This is the intro to the opening credits. You see stars glittering & shooting by. In the CD booklet for this song is a picture of an observatory for watching stars & planets.

It begins just when the spaceship crashes into the water, and the crew members are asking the same question, as they try to get out.

It begins when the last crew member jumps off the spaceship, and they paddle their way towards a new planet. They are now poles apart from earth. ['And that you'd never lose that light in your eyes' is sung right as the bright sun shines in your eyes.]

They are now marooned on a desert like planet. Just like the picture in the CD booklet.

This is when they discover life on the planet. They discover a flower like plant, and trees by a waterfall. The picture in the CD booklet has flowers floating on water.

This is when they go skinny dipping by the waterfall. They're wearing the inside out.

This is when the apes take them back to the camp.

This is when Charlton Heston comes back to life after being shot in the throat.

Heston communicates through writing. His words won't come out right because he has been shot in the throat. Why won't you talk to me? He can't talk.

Heston is gagged with a muzzle. He then fights his way out of there. The picture in the CD booklet is of boxing gloves.

The ringing of the division bell has begun. Heston is on trial as you hear the bell's ringing at the end. At the very end of the CD, if you turn the volume up. You'll hear "Is that you, Charlie?" as the apes are looking at Charlton (Charlie) Heston. The picture in the CD booklet for the song "High Hopes" is the same one on page 139 of "Mind Over Matter" which you can see an ape face in the black cape, but not in the CD booklet. Publius Enigma has struck again.

Synchronization #7 was discovered by Jeff Stillman and Andrew Wendland in November 1997.

Synchronization #13 was discovered by Kenny Dreamx.

Synchronizations #1, #2, #3, #8, #11, and #12 were discovered by Andrew Wendland during November and December 1997.

Synchronizations #5 and #10 were discovered by Andrew Wendland during December 1999.

Synchronizations #4, #6, and #9 have been floating around the web for quite some time. The discoverers are unknown. The band probably leaked them.

When sharing these movie synchronizations with others, please remember who discovered them. When reprinting these synchronizations, please give us credit. Thank you and enjoy.

Andrew Wendland

acwendland@yahoo.com

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