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“I had done The Wall, and then there was a conflict between Roger and me. It was two-pronged – one side was really my fault, and the other part was out of my control.
“I had signed an NDA [non-disclosure agreement] about The Wall and everything we were doing with it. One day a friend a mine, who also happens to be a rock journalist, called me to tell me that his magazine wouldn’t pay for him to see The Wall – we were about to do the live show in LA. He said, ‘You know how much I love the band, so just between us, what am I missing? What am I not going to see?’ I asked him if this was off the record, and he said, ‘Off the record, absolutely.’
“I was just about to sit down to dinner, but I was really excited about the show, so I told him some of the things we were doing. The next week in Billboard it said, ‘Over dinner with Bob Ezrin,’ and it revealed some of the details. This put Roger into an apoplectic fit – rightly so. He had worked so hard to keep it all a secret, and then the secret was out, and it appeared to be my fault. It was my fault. I was naïve in believing that there was such as thing as ‘off the record.’
"I was banned after that. They used Michael Kamen for the next record, The Final Cut – I had brought Michael in to work on The Wall. Roger wouldn’t talk to me. Finally, some years down the line, I got a call from him asking me to come to England to talk about a new project. ‘Pink Floyd is no more,’ he said, ‘and they wouldn’t dare go on without me.’ I told him that I couldn’t go to England right then – I was either doing Rod Stewart or Berlin – but we agreed to meet in New York.
"We got together, and the first thing he did was apologize. He said, ‘I was very hard on you, and I’m sorry. It was a difficult time in my life, and I was perhaps a little unfair.’ I was so happy to have Roger Waters back in my life, because I love him. He’s one of the most brilliant people I’ve ever known.
“We had a great time, we bonded, and he told me he wanted me to produce the new album. I said that I was very interested, and that was that. We started to try to make arrangements, but it was very, very difficult. I had to go to England to work with him, and once we started, we couldn’t stop. Basically, I had to move my family, which involved many things – it all became more and more difficult. One night, my wife broke into tears. There was so much involved with our family going to England. We were going to have to leave the dog boarded for months; the kids were going to have to enroll in these other schools. Finally, she said it was too much and that I can't do it.
"I called Peter Rudge, who was the manager at the time, and I said, ‘Peter, I can’t do it.’ He was like, ‘Oh, you’re killing me. I don’t want to have to give this news to Roger.’ I told him I was so sorry, that I had honestly tried. And we were already pretty far down the line heading towards the record. It was pretty late to be pulling out. But at the end of the day, my wife wins. That was that.
“Literally, three weeks later, I got a call from Dave Gilmour telling me, ‘Roger’s left, but we’re keeping the band together. We’re doing an album, and we’d like to know if you’d work with us. We have some song ideas – may I come to LA to show them to you?’ I said, ‘Yeah, sure.’ 'Cause, you know, I love Dave, too. Dave and the band are amazing talents, so I was really excited.
What was different was the fact that Dave said, ‘Look, you’ve got a family, I’ve got a family – why don’t we split it up? We’ll do a bit in England and a bit here.’ It was so much easier and more accommodating of my family situation, so I said, ‘I’m in.’
"Roger got very angry, and he believed that I knew I was going to do this before I’d pulled out of his project. In a way, he sort of believed a conspiracy, that I'd strung him along so that he’d be late and wouldn’t be able to his record out before Pink Floyd. None of which is true – I had no thoughts about any of that. I just felt more comfortable with the situation and that we were going to do a lot of it in LA, where I lived.
“Anyway, we started Momentary Lapse. We began in this Victorian houseboat boat that David had bought – a brilliant piece of architecture. It was a very fertile environment; the water was gorgeous, and the ideas were flying. We had a great time.”