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  • The live performance of The Wall, specifically Roger Waters's live version from 2010, features the album in all its incredible glory, alongside some absolutely astounding design for the stage.
    • Projections of pivotal moments from the film are shown on the wall as it's built throughout the show. Yes, the wall is actually built. It's a physical thing, in front of the audience. And it makes the destruction of it all the sweeter.
    • The use of a giant puppet that represents the teacher from the film's animated segments is a sight to behold, especially when it's shown alongside actual children singing and dancing incredibly well to Another Brick Pt. 2.
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    • The destruction of the wall. Holy shit. It's awesome in the film, it's awesome in the album, but the live show. WOW. It's physically, actually torn down, crashing to the ground alongside the deafening chants of both the band and the audience of TEAR DOWN THE WALL! TEAR DOWN THE WALL! And to top it all off? Roger Waters lets loose an absolutely incredible Precision F-Strike.
      Waters: TEAR DOWN THE FUCKING WALL!
  • David Gilmour singing and playing the guitar solo for "Comfortably Numb" on top of the wall was a highlight of the original live shows. The feat has been duplicated by Waters' solo Wall shows with a singer and a guitarist in his touring band. Gilmour did reprise this in his surprise 2011 appearance in Roger Waters' Wall tour at London's O2 Arena.
  • Pink tearing the hotel apart. It's only hinted at in the album. In the movie on the other hand, it's so epically crazy that you can't help but cheer him on even though what he did was wrong.
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  • The entire Neo-Nazi Rally, despite being Pink's Moral Event Horizon, is the epitome of Evil Is Cool. In the movie, it's scored with epic orchestra rather than electric guitar.
  • The wall coming down. It is the most triumphant thing in the movie by far.
    • The entire trial scene before that is an excellent conclusion to the movie, with an epic music track and mesmerizing (and delightfully creepy) surreal animation with over-the-top grotesque characters.
  • The sudden transition from "Empty Spaces" to "Young Lust".
    • Howwww... shall I fillll... the fiiiinal placessssss.... How should IIIII... compleeeeete the waaallllll- I AM JUST A NEW BOOOOYYYY! A STRANGER IN THIS TOOOOWN! WHERE ARE ALL THE GOOD TIMES? WHO'S GONNA SHOW THIS STRANGER AROUND?
    • "Young Lust" in its favor is epic and catchy at that.
      • OOOOOOOOOOOOOOOOH I NEED A DIRTY WOMAN! OOOOOOOOOOOOOH I NEED A DIRTY GIRL!
  • The movie version of "Empty Spaces", "What Shall We Do Now?" is an extended version of the original song that is good enough to have been on the album. And the creepy, creepy Gerald Scarfe animations just adds to it.
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  • The goose-stepping hammers seen in the animation sequence during "Waiting for the Worms".
  • During "The Trial", Pink's schoolmaster and mother are as adamant as ever in their desire to "hammer" him and smother him respectively. Pink's wife, on the other hand, calls him out for a legitimate grievance (not talking to her as often as he did), something he actually did.
  • The movie made it onto revered critic Roger Ebert's Great Movies List.
  • Waters' sudden shift into BUT IN THE TOWN, IT WAS WELL KNOWN THAT WHEN THEY GOT HOME AT NIGHT, THEIR FAT AND PSYCHOPATHIC WIVES WOULD THRASH THEM WITHIN INCHES OF THEIR LIVES! followed by a badass drum solo on "The Happiest Days of Our Lives".

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