:05:00
And it's an incredibly
beautiful image
:05:03
and extremely difficult to achieve.
:05:06
You have to have forethought
and know how to frame things
:05:11
and how to tell the actors how to
look, where their eyeline should be.
:05:14
Eyeline is very important in movies.
:05:16
Not something audiences think about,
:05:18
but for a director it's very
important where the actor is looking.
:05:22
And they, of course, are looking
at Niall MacGinnis
:05:25
and reacting to him as he is reacting
to them in his memories.
:05:34
The film is really a poem
about an island.
:05:42
Here, a beautiful poetic moment.
:05:44
At the bottom of this gravestone,
the very evocative words:
:05:48
"Gone over."
:05:49
Kind of thing you would never see
in probably any other cemetery.
:05:53
Look at this image.
:05:55
I mean, you have no idea
how difficult it is
:05:58
to get a camera into position
to take shots like this
:06:02
which evoke the extraordinary
physical state of the island,
:06:05
these sharp cliffs
just rising out of the sea.
:06:14
- What's wrong, Andrew?
- The hills of Scotland.
:06:18
It's a rare thing
to see them from Hirta.
:06:22
(Schoonmaker-Powell) Here you see
some sequences shot in the studio:
:06:26
The sequences of Powell and his wife.
:06:30
You can sort of tell
by the soft focus of the background,
:06:34
which is done to fool the eye,
:06:36
when you're trying to match into
a shot as dramatic as these cliffs
:06:40
that have been raised up out of
the sea by violent earthquakes.
:06:43
(Dialogue) Ten years ago,
you'd have seen all the folk
:06:46
on their way to the kirk.
:06:49
The men in black,
:06:51
and the women neat and bonny,
:06:54
and young John Eisbister
standing by the gate.
:06:58
(Schoonmaker-Powell) Another
incredibly poetic moment here.