:22:04
- I can see no objection.
- Down to the boats!
:22:07
Come on, then!
:22:13
(Christie) Making a film like this,
:22:16
on an incredibly remote island,
was very, very difficult.
:22:20
There was no possibility
of flying anything in.
:22:22
It was difficult even to get
supplies and personnel in by boat,
:22:28
because Foula had
a very difficult harbour.
:22:31
So everything that they needed
had to be brought
:22:35
and anything that
had to be brought in later
:22:38
or any emergency
that occurred on the island
:22:40
necessitated a difficult
and quite dangerous trip to Lerwick.
:22:44
This was film making
absolutely on the edge.
:22:49
(Dialogue) I'll lose you both!
:22:51
(Schoonmaker-Powell)
Of course, for film makers,
:22:54
the fact that you can't see
your dailies is terrifying.
:23:00
Today we wouldn't even consider it.
:23:02
You can electronically send images
to the top of Everest probably today.
:23:05
My assistants in the editing room
and I always joke about
:23:09
the message that Michael Powell
received from the studio in London
:23:12
after the dailies had been...
the first dailies had been developed:
:23:17
"Picture invisible, sound inaudible.
Is this intentional?"
:23:22
(Laughs) And we just love that
because it just captures
:23:26
the absolutely terrifying feeling
it must've been to get that message.
:23:31
Michael always told that story
with great humour
:23:34
because he saw the humour in it,
as always.
:23:39
This film, for Michael Powell,
was as if it was his first-born.
:23:45
He had a passionate love for it
which he never lost
:23:48
until the end of his days.
:23:50
In fact, he was so moved, about
60 years after this film was made,
:23:55
maybe 55, when he showed it
at the Santa Fe film festival