input: In 1776, the first engines were installed and working in commercial enterprises. These first engines were used to power pumps and produced only reciprocating motion to move the pump rods at the bottom of the shaft. The design was commercially successful, and for the next five years Watt was very busy installing more engines, mostly in Cornwall for pumping water out of mines.  These early engines were not manufactured by Boulton and Watt, but were made by others according to drawings made by Watt, who served in the role of consulting engineer. The erection of the engine and its shakedown was supervised by Watt, at first, and then by men in the firm's employ. These were large machines. The first, for example, had a cylinder with a diameter of some 50 inches and an overall height of about 24 feet, and required the construction of a dedicated building to house it. Boulton and Watt charged an annual payment, equal to one third of the value of the coal saved in comparison to a Newcomen engine performing the same work.  The field of application for the invention was greatly widened when Boulton urged Watt to convert the reciprocating motion of the piston to produce rotational power for grinding, weaving and milling. Although a crank seemed the obvious solution to the conversion Watt and Boulton were stymied by a patent for this, whose holder, James Pickard, and associates proposed to cross-license the external condenser. Watt adamantly opposed this and they circumvented the patent by their sun and planet gear in 1781.  Over the next six years, he made a number of other improvements and modifications to the steam engine. A double acting engine, in which the steam acted alternately on the two sides of the piston was one. He described methods for working the steam "expansively" (i.e., using steam at pressures well above atmospheric). A compound engine, which connected two or more engines was described. Two more patents were granted for these in 1781 and 1782. Numerous other improvements that made for easier manufacture and installation were continually implemented. One of these included the use of the steam indicator which produced an informative plot of the pressure in the cylinder against its volume, which he kept as a trade secret. Another important invention, one which Watt was most proud of, was the parallel motion which was essential in double-acting engines as it produced the straight line motion required for the cylinder rod and pump, from the connected rocking beam, whose end moves in a circular arc. This was patented in 1784. A throttle valve to control the power of the engine, and a centrifugal governor, patented in 1788, to keep it from "running away" were very important. These improvements taken together produced an engine which was up to five times as efficient in its use of fuel as the Newcomen engine.  Because of the danger of exploding boilers, which were in a very primitive stage of development, and the ongoing issues with leaks, Watt restricted his use of high pressure steam - all of his engines used steam at near atmospheric pressure.

Answer this question "Who else did he work with?"
output: Boulton

Question: 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.

In the mid-1970s, as Pink Floyd gained mainstream fame, Waters began feeling increasingly alienated from their audiences:  Audiences at those vast concerts are there for an excitement which, I think, has to do with the love of success. When a band or a person becomes an idol, it can have to do with the success that that person manifests, not the quality of work he produces. You don't become a fanatic because somebody's work is good, you become a fanatic to be touched vicariously by their glamour and fame. Stars--film stars, rock 'n' roll stars--represent, in myth anyway, the life as we'd all like to live it. They seem at the very centre of life. And that's why audiences still spend large sums of money at concerts where they are a long, long way from the stage, where they are often very uncomfortable, and where the sound is often very bad.  Waters was also dismayed by the "executive approach", which was only about success, not even attempting to get acquainted with the actual persons of whom the band was comprised (addressed in an earlier song from Wish You Were Here, "Have a Cigar"). The concept of the wall, along with the decision to name the lead character "Pink", partly grew out of that approach, combined with the issue of the growing alienation between the band and their fans. This symbolised a new era for rock bands, as Pink Floyd "explored (... ) the hard realities of 'being where we are'", drawing upon existentialists, namely Jean-Paul Sartre.

Using a quote from the above article, answer the following question: Did Walters star in the wall
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Answer: