Phil Manzanera: 

« In late 1986 I started doing demos for a new solo recording project at my Gallery Studio in St. Ann’s Hill, Chertsey, which eventually became the album Southern Cross, My manager at the time, Steve O’Rourke, who also managed David Gilmour and Pink Floyd, rang and said did I fancy trying to write a song with David that could be a single?»

Cited in « Guitar Player »,1st November 2024

David Gilmour: 

«Phil Manzanera's a friend of mine; most of the music for One Slip came from him. We spent a couple of days throwing ideas around and this was the one that fitted the album best. I personally get uncomfortable going out on choruses. I tend to avoid it. We didn't quite do it on One Slip, which was going that way. In the end we did a chorus then went out with an instrumental. To me, [the former] is so much the pop formula that I try to avoid it»

Cited in «The Amazing Pudding», issue 47.

Phil Manzanera: 

« David came over to the studio and I played him two tracks that could be worked on. He took them away as 24-track multi-tracks, and months later he invited me over to his studio Astoria and played me the track that people now know, as 'One Slip' on the A Momentary Lapse of Reason album. I was surprised, as I had thought he was working on the other track, but delighted to have a track on a Pink Floyd album »

Cited in « Guitar Player »,1st November 2024

Andy Jackson (Sound engineer, producer):

«The alarms on the front was me with the alarm system at the studio. Strangely enough I had a friend who worked in another studio and they had exactly the same alarm system. And he said, ‘Oh, God that sound! I can’t believe you used that!»

«Andy Jackson, Pink Floyd’s sound engineer, interviewed by Craig Bailey», December 2000

Nick Mason:

«In retrospect I rather regret that (I didn’t play drums), although it wasn’t the first time. There’s an early single on which the producer played the drums, for example. If we hadn’t got much time and I couldn’t play a part, somebody else did it instead. The thing is that on A Momentary Lapse Of Reason, too many things were played by other people. That was a mistake, but at the time David Gilmour had an awful lot on his plate. At least with Jim Keltner I chose one of the best drummers around»

«Rock stars have to show off because they’ve got weak egos», Galore Magazine, November 2005

David Gilmour:

«Pat Leonard and I met up at Astoria in September 1986 a couple of days after I had played on a Bryan Ferry track that he was producing. We had a glass or two of wine and jammed for hours. For some reason that I can no longer remember I had chosen the fretless bass as my instrument of the day. It turned into a beautiful song»

« Pink Floyd - Yet Another Movie (Demo) », Pink Floyd Facebook page, 24 September 2021.

Nick Mason:

« (…) Nous avons choisi de l’enregistrer dans une salle immense, et nous avons joué ensemble, tous les trois, le percussionniste, Jim Keltner et moi. Là, nous frappons à l’unisson ».

« Seconde jeunesse pour le Floyd », Guitare & Claviers, September 1987.

David Gilmour: 

«It's hard to explain Yet Another Movie. It's a more surrealistic effort than anything I've attempted to do before. I've tended to stick within personal experience and reality very much; but I have a desire, without getting into fiction and little stories about other people (which I generally don't care for), to find a broader base to write things about - and that's an attempt to do that. I'm very fond of it, but I don't even know what all of it means myself!»

Cited in «The Amazing Pudding», Issue 53.

Nick Mason: 

«It's one of my favorites on the album, I think just because of the way it was recorded. It was an unforgettable occasion: this enormous studio with more drums than I've ever seen in my whole life. We had Jim Keltner's kit, my kit, Steve Forman the percussion player with all his stuff, and two of these people known as 'drum doctors' who are ultra-specialist drum people. They set the drums up, tune them and so on — bring you seven snare drums and say 'Which one do you think you would like to use for this?' Just the power and the sound of all that air being moved by these drums... real 'drum city' in there that day! In the past, we've used musicians other than the group, even if they haven't always been credited: it doesn't mean that I'm not playing on all the tracks. On Yet Another Movie, all three of us played together — the percussionist, Jim Keltner and me. We drummed in unison but, at other times, I kept the rhythm whilst the others played fills. It's a different approach which benefits the music»

Cited in «The Amazing Pudding», Issue 53.

Bob Ezrin:

«We actually hired a 24- track truck and a huge P.A. system and brought them inside the L.A. Sports Arena. We had the whole venue to ourselves, and we piped Dave’s guitar tracks out into the sports arena and re-recorded them in 3D. So the tracks that originally came from a teeny little Gallien-Krueger and a teeny little Fender, but piped through this enormous P.A. out into a sports arena, sound like the Guitar From Hell»

«Wall of Sound», Guitar World, February 1993.