Some context: Herbert Alexander Simon (June 15, 1916 - February 9, 2001) was an American economist and political scientist whose primary interest was decision-making within organizations and is best known for the theories of "bounded rationality" and "satisficing". He received the Nobel Prize in Economics in 1978 and the Turing Award in 1975. His research was noted for its interdisciplinary nature and spanned across the fields of cognitive science, computer science, public administration, management, and political science. He was at Carnegie Mellon University for most of his career, from 1949 to 2001.
Herbert Alexander Simon was born in Milwaukee, Wisconsin, on June 15, 1916. His father, Arthur Simon (1881-1948), was an electrical engineer who had come to the United States from Germany in 1903 after earning his engineering degree from the Technische Hochschule of Darmstadt. An inventor who was granted "several dozen patents", his father also was an independent patent attorney. His mother, Edna Marguerite Merkel, was an accomplished pianist whose ancestors had come from Prague and Cologne. His European ancestors had been piano makers, goldsmiths, and vintners. Simon's father was Jewish and his mother came from a family with Jewish, Lutheran, and Catholic backgrounds. Simon called himself an atheist. Simon was educated in the Milwaukee public school system, where he developed an interest in science. He found schoolwork to be interesting and easy. Unlike many children, Simon was exposed to the idea that human behavior could be studied scientifically at a relatively young age due to the influence of his mother's younger brother, Harold Merkel, who had studied economics at the University of Wisconsin-Madison under John R. Commons. Through his uncle's books on economics and psychology, Simon discovered the social sciences. Among his earliest influences, Simon has cited Richard Ely's economics textbook, Norman Angell's The Great Illusion, and Henry George's Progress and Poverty. At that time, Simon argued "from conviction, rather than cussedness" in favor of George's controversial "single tax" on land rents. In 1933, Simon entered the University of Chicago, and following those early influences, he studied the social sciences and mathematics. He was interested in biology, but chose not to study it because of his "color-blindness and awkwardness in the laboratory". He chose instead to focus on political science and economics. His most important mentor was Henry Schultz, an econometrician and mathematical economist. Simon received both his B.A. (1936) and his Ph.D. (1943) in political science, from the University of Chicago, where he studied under Harold Lasswell, Nicholas Rashevsky, Rudolf Carnap, Henry Schultz, and Charles Edward Merriam. After enrolling in a course on "Measuring Municipal Governments", Simon was invited to be a research assistant for Clarence Ridley, with whom he coauthored Measuring Municipal Activities in 1938. Eventually his studies led him to the field of organizational decision-making, which would become the subject of his doctoral dissertation.
Where did he attend school?
A: Simon was educated in the Milwaukee public school system, where he developed an interest in science.

Some context: 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.
What was the film going to be about?
A:
was intended to be live footage from the album's tour,