We’ve always wondered why Roger Waters psychologically equated The Wall with the feminine, and especially with the figure of an overly protective smothering mother. Here’s one very solid clue from 1971, eight years prior to Pink Floyd’s 1979 rock-opera:
PSYCHIATRIST: No, I suppose not. How do you feel about your mother?
INSERT—STOCK: A giant steel ball on a demolition crane crashes into a brick wall collapsing it with much noise and dust.
From the script for, you guessed it, Harold and Maude. Now that’s intertextuality!