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Schwartz agrees. “Doing something for stage gives you a broader audience to work for. And you can go into a lot more character development and nuance. Animation is a sort of particular thing. It’s short, for one thing. There are consequently far less songs.”. Composer/lyricist Schwartz is writing 12 new songs for the musical, which must fit in seamlessly with those he created for the film. “I did a lot of research before writing the songs for the movie,” Schwartz says, “and listened to what could be found of ancient Egyptian court music and tried to base a lot of the sound of the score on that. And that has remained true for the stage adaptation, as well.
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But one would have to go even further back — much, much further — to see a show like the one Mason and company so wonderfully delivered at the Masonic. — Jim Harrington (@jimthecritic) March 16, 2019. The genius of this project is that is concentrates solely on Pink Floyd’s pre-1973 catalog, which significantly differentiates it from the classic-rock nostalgia fests that fellow Floyd mates Waters and, to a lesser extent, David Gilmour have been peddling over the years. “I knew I couldn’t play ‘Comfortably Numb’ better than David or Roger, or indeed even the Australian Pink Floyd [tribute band],” Mason told Rolling Stone magazine. “It became a matter of finding something else that engaged us.”.