Film was a surprisingly persistent thread in Pink Floyd’s early career, running alongside—and sometimes intersecting with—their better-known experiments in psychedelia and space rock. From their appearance in Tonite Let’s All Make Love in London and music for The Committee to their contributions to Antonioni’s Zabriskie Point and, ultimately, the two Barbet Schroeder soundtracks, cinema gave the band a place to explore ideas and textures that didn’t always fit neatly into the Pink Floyd canon. Heard together, this body of work reveals a less ceremonious, more volatile version of the band: darker on More . . .
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