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Director [[Alan Parker]], a Pink Floyd fan, asked EMI whether ''The Wall'' could be [[Film adaptation|adapted to film]]. EMI suggested that Parker talk to Waters, who had asked Parker to direct the film. Parker instead suggested that he produce it and give the directing task to Scarfe and [[Michael Seresin]], a cinematographer.<ref>{{cite book |last=Schaffner | first=Nicholas | title=Saucerful of Secrets | publisher=Dell Publishing | pages=244–245}}</ref> Waters began work on the film's screenplay after studying scriptwriting books. He and Scarfe produced a special-edition book containing the screenplay and art to pitch the project to investors. While the book depicted Waters in the role of Pink, after screen tests, he was removed from the starring role;<ref>{{cite book |last=Schaffner | first=Nicholas | title=Saucerful of Secrets | publisher=Dell Publishing | pages=245–246}}</ref> he was replaced with the [[punk rock|punk]] musician [[Bob Geldof]]. In ''[[Behind the Music|Behind the Wall]]'', both Waters and Geldof later admitted to a story during casting where Geldof and his manager took a taxi to an airport, and Geldof's manager pitched the role to the singer, who continued to reject the offer and express his contempt for the project throughout the ride, unaware that the taxi driver was Waters' brother, who promptly proceeded to tell Waters about Geldof's opinion.
Since Waters was no longer in the starring role, it no longer made sense for the feature to include Pink Floyd footage, so the live film aspect was dropped.<ref>{{cite book |last=Schaffner | first=Nicholas | title=Saucerful of Secrets | publisher=Dell Publishing | page=246}}</ref> The footage culled from the five ''Wall'' concerts at [[Earl's Court]] from 13–17 June 1981 that were held specifically for filming was deemed unusable also for technical reasons as the fast [[Panavision]] lenses needed for the low light levels turned out to have insufficient resolution for the movie screen. Complex parts such as "[[Hey You (Pink Floyd song)|Hey You]]" still had not been properly shot by the end of the live shows.<ref>Pink Floyd's The Wall, page 83</ref> Parker also managed to convince Waters and Scarfe that the concert footage was too theatrical and that it would jar with the animation and stage live action. After the concert footage was dropped, Seresin left the project and Parker became the only director connected to ''The Wall''.<ref>Pink Floyd's The Wall, page 105</ref>
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