Problem: Pink Floyd - The Wall is a 1982 British live-action/animated musical drama film directed by Alan Parker with animated segments by political cartoonist Gerald Scarfe, and is based on the 1979 Pink Floyd album of the same name. The film centers around a confined rocker named Pink, who, after being driven into insanity by the death of his father and many depressive moments during his lifetime, constructs a metaphorical (and sometimes physical) wall to be protected from the world and emotional situations around him. When this coping mechanism backfires he puts himself on trial and sets himself free. The screenplay was written by Pink Floyd vocalist and bassist Roger Waters.

Even before the original Pink Floyd album was recorded, a film was intended to be made from it. However, the concept of the film was intended to be live footage from the album's tour, with Scarfe's animation and extra scenes. The film was going to star Waters himself. EMI did not intend to make the film, as they did not understand the concept.  Director Alan Parker, a Pink Floyd fan, asked EMI whether The Wall could be 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 Gerald Scarfe and Michael Seresin, a cinematographer. 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 and replaced with punk musician and frontman of the Boomtown Rats, Bob Geldof. In 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 fare, 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. 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" still had not been properly shot by the end of the live shows. 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.

Are there any other interesting aspects about this article?

Answer with quotes: The film was going to star Waters himself.

Background: Daniel Dodd "Dan" Wilson (born May 20, 1961) is a singer, songwriter, musician, producer, and visual artist. His songwriting resume includes "Closing Time", which he wrote for his band, Semisonic, "Not Ready to Make Nice" (co-written with the Dixie Chicks) and "Someone like You" (co-written with Adele). He earned a Grammy nomination for "Closing Time" (Best Rock Song) and won Grammys for Song of the Year ("Not Ready to Make Nice" in 2007) and Album of the Year (which he won in 2012 as one of the producers of Adele's 21). In addition to being the leader of Semisonic, Wilson has released several solo recordings, including the 2017 release Re-Covered.
Context: Wilson co-wrote three of the songs on Adele's multiple-Grammy-winning 21, "Don't You Remember", "One and Only", and, most notably, "Someone Like You", which became a number one hit in the US, UK, Ireland, Australia, and New Zealand was a top ten hit around the globe. As a producer of this track, on which he also played piano, Wilson shared in the 2012 Grammy Award for Album of the Year.  In an interview with American Songwriter, Wilson recounted the writing and recording of "Someone Like You":  The recording on the album was intended as a demo. I was thinking, "Oh, they're going to make a big version of this, strings and angelic choirs, like a big Chrissie Hynde power-ballad." But by the end of the first day, the demo was sounding lovely, and very affecting, but it was only half-written, there were no words on the second verse or the bridge as I remember. Adele came to the studio the next day and said, "I played it for my manager and me Mum." I was a little nervous about this because I don't like people to hear works-in-progress. I asked her what they thought of the song. "My manager loves it and me Mum cried."  "Someone Like You" won the 2012 Grammy for Best Pop Solo Performance, and as she accepted the award, Adele said, "I want to thank Dan Wilson, who wrote this song with me. My life changed when I wrote this song and I felt it before anyone even heard it."  "Someone Like You" was the most downloaded single of all time in the UK and was voted third most favourite single of the last 60 years in the UK.
Question: How did they come to work together?
Answer: 

Question:
Hooker's date of birth is a subject of debate; the years 1912, 1915, 1917, 1920, and 1923 have been suggested. Most sources give 1917, though at times Hooker stated he was born in 1920. Information in the 1920 and 1930 censuses indicates that he was born in 1912. In 2017, a series of events took place to celebrate the purported centenary of his birth.
Hooker's recording career began in 1948, when Modern Records, based in Los Angeles, released a demo he had recorded for Bernie Besman in Detroit. The single, "Boogie Chillen'", became a hit and the best-selling race record of 1949. Despite being illiterate, Hooker was a prolific lyricist. In addition to adapting traditional blues lyrics, he composed original songs. In the 1950s, like many black musicians, Hooker earned little from record sales, and so he often recorded variations of his songs for different studios for an up-front fee. To evade his recording contract, he used various pseudonyms, including John Lee Booker (for Chess Records and Chance Records in 1951-1952), Johnny Lee (for De Luxe Records in 1953-1954), John Lee, John Lee Cooker, Texas Slim, Delta John, Birmingham Sam and his Magic Guitar, Johnny Williams, and the Boogie Man.  His early solo songs were recorded by Bernie Besman. Hooker rarely played with a standard beat, but instead he changed tempo to fit the needs of the song. This often made it difficult to use backing musicians, who were not accustomed to Hooker's musical vagaries. As a result, Besman recorded Hooker playing guitar, singing and stomping on a wooden pallet in time with the music.  For much of this period he recorded and toured with Eddie Kirkland. In Hooker's later sessions for Vee-Jay Records in Chicago, studio musicians accompanied him on most of his recordings, including Eddie Taylor, who could handle his musical idiosyncrasies. "Boom Boom" and "Dimples", two popular songs by Hooker, were originally released by Vee-Jay.
Answer this question using a quote from the text above:

What was his first album?

Answer:
"Boogie Chillen'",