:11:00
- (Tuning fork hums)
- La, la... la-la.
:11:05
(AII sing) The Lord's my shepherd
:11:11
I'II...
:11:12
(Christie) The actors were
under incredible difficulty.
:11:15
None of this is conveyed
in the church sequence as we see it.
:11:19
Here's how Michael Powell
described it in his book.
:11:23
(Day-Lewis) The high spot of the
southwest location was the church.
:11:27
There were three physical changes
which had to be managed.
:11:30
These were, firstly, the derelict
building in the prologue,
:11:34
with weed-grown yard,
buried gravestones,
:11:37
battered roof and forlorn belfry,
:11:39
and a fragment of frayed rope
where the bell once hung.
:11:43
Secondly, the church in the story,
trim and neat,
:11:46
a path worn by the years
from the gate to the door,
:11:50
the bell clanging
as Gerald pulled the rope
:11:52
and the row of dogs sitting
peacefully by their rail.
:11:57
Finally, the interior of the church,
:12:00
sans belfry, sans roof,
:12:02
sans ceiling, and especially,
:12:06
sans warmth.
:12:07
It is hard to believe
:12:09
that the whole church interior
was shot in half a gale.
:12:12
It was as cold as Christmas.
:12:14
When making close-ups
of Hamish, Finlay and John,
:12:18
we had to place oil stoves
all around them
:12:22
to warm their patch of glacial air
so that their breath should not show.
:12:25
Alastair, Bobby Isbister and Sid
worked the reflectors,
:12:29
roosting on the rafters
in the full force of the wind.
:12:32
They had to nail
their reflectors down.
:12:35
Themselves,
they froze to their seats.
:12:38
The orange cellophane
on the doors and windows
:12:40
crackled like a bush fire
as the gusts caught it.
:12:44
The clouds sailed over
at such a pace
:12:47
that we never had more
than two minutes of sunlight.
:12:50
On three days,
we had to drop everything,
:12:52
all rush out and make fast tarpaulins
before a squall hit us.
:12:56
The actors were beyond all praise.
:12:59
They had to be ready,
like racehorses,