1981 - 1982
After Wright's ouster, Roger isolated himself from the rest of the group while working on the film
while Parker allegedly threatened to walk off because of Waters' interference.

«Une vie, un groupe en rock majeur», Le Monde, 17 July 1982

I never interfered with the shooting, but every evening I was present at the rushes. My heart was bleeding, I had to argue for hours so that he would adapt but not distract from my ideas. Alan Parker is the difference between a sculptor and a carpenter, he is an excellent technician but ... 

«Making of The Wall - Brick by Brick», Alan Parker Website

Roger and I collided one day in the dubbing theatre both vomiting venom, like the Judge in the animation sequence. Curiously our arm wrestling was rarely about creative matters. Our problems were more about creative authorship than creative differences

«Over the Wall », MTV TV, May 15th 1988.

I had a lot to do with getting the music right for the film and trying to 

keep the peace between the warring factions at Pinewood Studios, with directors walking out and being begged to come back. That was my role, begging the director to come back

«Over the Wall », MTV TV, May 15th 1988.

So I had to go to Roger and say to him « Give him what it says in his contract...I'm sorry, man, but otherwise we'll have to have a meeting of the shareholders and directors - which is me, Nick and Roger - and we'll out-vote you. ». There was nothing he could do and he's never forgiven me for that.

July 1982
At the time of the theatrical releases of the film, the status of the band is definitely in the twilight zone. At the premiere of the film « Pink Floyd, The Wall' at the Empire Cinema, the three remaining members arrive in a scattered order. Wright is excused for medical reasons, his departure has still not been made official.  

«Une vie, un groupe en rock majeur», Le Monde, 17 July 1982

Yes, I'm interested in power, in terms of work. Things have to be done, 

and it's very difficult to create in groups. The idea of the democratic band 

is a lure that had its day in the 60s, but it never really existed. 

In the beginning, Pink Floyd was Syd Barrett's band, today it's mine. Which is not to say that other people don't have a say

Quoted in «Interview in Toronto Star», Amazing Pudding #27.

They were basically lazy. Not that i’m saying i did it all. Dave was contributing as an arranger and an occasional advisor. He’s a musician of note, and i don’t want to belittle his input. But the other had no input

« Total Silence Or War, Der Spiegel, June 5th 1995.

He was our head.Roger is a great lyricist, but as a musician he's not so great. I think I am the better musician and I write better music.But Roger suddenly started to believe that he was the better musician

«Interview with Nick Mason», BRMB Radio, September 5th 1985.

You told me at the Wall premiere that Rick Wright was on holiday, 

but you didn’t mention him leaving the band – had he actually left at the point?

I’ve no idea – I can’t remember whether he had or not at that time

«David Gilmour - The Dark Side of Pink Floyd», Muzik Express, April 1984

Rick Wright's departure from the group has been played down by Pink Floyd. I haven't found any news about it in the music press. Is that all, is that a fait accompli ?

Yes, above all fait accompli. (Laughs.)The famous «musical differences» ?

Yes, you could say that (laughs again). Musical and personal differences. Rick wasn't really doing anything anymore and hadn't done anything for a while

«Behind Pink Floyd’s The Wall», Rolling Stones, September 16th 1982.

Well, you know, none of us has ever been the best of friends. I have never been a close personal friend of anyone else in band, and neither was Rick, really. Roger and Nick have at times been fairly close. We don’t not get along, but we’re working partners

«Behind Pink Floyd’s The Wall», Rolling Stones, September 16th 1982.

Back in the early seventies, we used to pretend that we were a group. I started to get very resentful because i was doing a lot more and yet we were all pretending that we were doing it. Well we don’t pretend anymore. I could work with another drummer and keyboard player very easily, and it’s likely at some point i will. (The future of Pink Floyd) depends very much on me

September 1982
he band after recording some bits and pieces for the «Spare Bricks» soundtrack move to an actual new album: «The Final Cut»

Quoted in «Interview in Toronto Star», Amazing Pudding #27.

(...) I started writing this piece about my father. I was on a roll, and I was gone. The fact of the matter was that I was making this record.  And Dave didn't like it. And he said so …

«Fable of deconstruction», Mojo, May 1994.

I said to Roger: « If these songs weren’t good enough for «The Wall», why are they good enough for now ? » We had the most awful time of my life. Roger had got Rick out, Nick wasn’t around much and now he was starting on me. A most unpleasant and humiliating experience

«Pigs might fly», Mark Blake, 2006

I’m certainly guilty at times of being lazy, and moments have arrived when Roger might say, «Well, what have you got?» And I’d be like, «Well, I haven’t got anything right now. I need a bit of time to put some ideas on tape» There are elements of all this stuff that, years later, you can look back on and say, « 

Well, he had a point there ». But he wasn’t right about wanting to put some duff tracks on «The Final Cut »

«Dave Gilmour », Creem Magazine, February 1988.

Roger wanted to do all the writing, he wanted to take over the whole thing. He would engineer moments to try and ensure that no one else got any writing. Certainly on The Final Cut, he engineered a situation where no one else could do any writing

«Interview w/. David Gilmour », The Guardian, June 1988.

He was just obsessed with the idea that I was being destructive and I didn't believe absolutely and completely in everything he did and said. 

But I'd say « I’m sorry, man, I'm being constructive »

«David Gilmour - The Dark Side of Pink Floyd», Muzik Express, April 1984

I had very little to do with it, and I don't like it either, that's for sure. It 

didn't satisfy me at all (…) purely musically. The music is just weak. I always like to have a certain minimum of good music on a Pink Floyd record, but there are only three good songs on «The Final Cut», the rest are just filler» 

«Bright side of the moon», Ginger Gilmour, 2018

The Floyd needed to produce another album to comply with their record contract. Roger’s vision and his one pointed drive after The Wall, pushed him on. He thought the Floyd was his. Consequently, this did not leave much creative room for David to participate. Nor inspire David, for Roger’s energy was like a little boy clinging selfishly to his toy (…). Besides, what for? Why should David contribute? The original way of creating an album was gone. In fact, how could he under those circumstances?

«The Man Behind Pink Floyd's The Wall», Greg Knot, 1999.

 Dave said he didn't think the record was good enough, so I asked him if 

he had any songs. Well, he hadn't got any. He wanted me to shelve it for a year, so he could write some songs. I said, « C’mon Dave, you haven't written any songs for five years, what makes you think you're going to start writing songs now? » I told him I'd release it as a solo record if they wanted (…)

«Pink Floyd, The Inside Story », Rolling Stone, 19 November 1987´

I said : « Perhaps this should be a solo record. I'll pay you guys the money we've spent, and I'll make this a solo album ». 

No, they didn't want that, because they know songs don't grow on trees. They wanted it to be a Floyd record

«The Last Days of Pink Floyd », Uncut, June 2004.

How could that be ?How on earth could I possibly stop Dave Gilmour writing ? What would I do ? Go round to their house and when they pick up a guitar say, « Put that down » ? The idea is absolutely ludicrous.It may be that within the context of the prolific nature of my own writing… I don’t know

An unprecedented situation arises at the end of the recording of the album. The allocation of production credits (and related income) was always clear. Up to and including 'Animals', the credits were shared equally between the four band members. At the beginning of 'The Wall', however, Roger Waters told the band that the credits would be given to Bob Ezrin, David and himself. Here, for 'The Final Cut', Roger decided not to give credits to David but only to himself, Michael Kamen and James Guthrie. A tug of war ensued between the bassist and the guitarist.

«Interview w/. David Gilmour », The Guardian, June 1988.

I said «you can take me off the credits, but I'm not going to pay you to produce it ». I thought he was wrong

«Rick Wright avec ou sans Floyd», Rockstyle, October 1996.

Roger thought that leaving Pink Floyd will means stop Pink Floyd, believing he would only continue alone since Dave and Nick were finished in his mind. It was his vision. I watched it from afar since I was no more part of the band. I tought to myself it was a frankly ridiculous situation 

« Interview w/. David Gilmour », Record Collector Magazine, May 2003.

I knew what had happened to my band at that point, and I was just 

trying to get through it. It wasn't pleasant at all. If it was that unpleasant but the results had been worth it, then I might think about it in a different way.

«The Last Days of Pink Floyd », Uncut, June 2004.

The big argument was whether he’d be getting a production credit and a point off the top for producing the record.He didn’t produce it. He didn’t want it to be made.He was disinterested in the album.He didn’t get the production credit. He did, however, insist on taking the point off the top

«Comfortably Numb», Mark Blake, 2006

By the time we had gotten a quarter of the way into making « The 

Final Cut », I knew that I would never make another record with Dave Gilmour and Nick Mason

A Waters/Kamen versus Gilmour/Mason schism occurs. According to Mason, Roger then finds producer Steve O'Rourke taking David's side. This would be one of the future reasons for the decision to disband the band a year later. To counterbalance the weight taken by the duo O'Rourke and Gilmour, he then gets closer to Nick Mason .

«Pink Floyd, The Inside Story », Rolling Stone, 19 November1987

Dave found himself particularly picked on during « The Final Cut », I found myself feeling that this was not fair

«A Saucerful of Secrets», Nicholas Schaffner, 1992.

When we did «The Final Cut », I asked her to stay with me to be part of 

my "gang" . He said ... «I want to go with Gilmour » ... At least he had the courage to tell me . I then said, « Ok if that's what you believe »

« Interview w/. David Gilmour », Rock Compact Disc magazine, ISeptember 1992

He didn't want it to continue with the Roger Waters/David Gilmour collaboration; he wanted it to continue with the Roger Waters -only- writing force. He didn't want me to be part of it, which is why it got so difficult in the end. And the reason he didn't want us to carry on was because he wanted to go out as «Roger Waters of Pink Floyd» in rather large letters and purloin the name for himself

« Pink Floyd, the inside story », Rolling Stone, November 1987.

I can't tell you how sorry I am about all this. It's so pointless. I'm sorry that I've fallen out with a friend 

«Danger Démolition in Progress», Mojo, December 1999.

I think it was nasty. This is my band as much as it's his. But the fact that Dave and Nick and Roger fell out immediately afterwards - they did The Final Cut, but that was ridiculous as I understand it, they virtually had physical fights in the studio, Dave refused to have his name on the credits - kind of helped me deal with the fact that I'd left the band. 

But I don't like the way it was done - after 18 years I still feel it was wrong

«The Last Days of Pink Floyd », Uncut, June 2004.

He (David) and I faced off about it, and Nick… I had this one telephone conversation with Nick about that. He said « I think you’re completely right about this, but I’m going to side with Dave cos that’s where my bread’s buttered ». Obviously I was a bit hurt because we were friends, but, I mean, if I’d got my way and the band had all disappeared and gone, that would have been probably pretty much the end of it for Nick in terms of rock’n’roll. He likes playing and he likes the attention and he likes the money and he got a lot more years

« Pink Floyd, the inside story », Rolling Stone, November 1987.

I regret Nick Mason, yeah, I feel very betrayed by him

At the time of the album's release, the two heads of the group did not hide their differences in front of the press during the promotion

«The Rise of Pink Floyd and the Decline of Syd Barrett», Guitar Heros Magazine, May 1983.

Well, our paths are no more really parallel (… ) We diverge quite a lot 

 

«La solution finale», Rock’n Folk, April 1983.

It would be ridiculous to think that we always agree on everything in fifteen or sixteen year career and the music is the result of a unique behavior , a unique feeling . If you want to know who these feelings, just look who wrote the songs. that's all