:33:01
but a part of the run.
:33:33
(Whooping)
:33:36
The sheep run
has now a definite purpose.
:33:39
It changes the tempo
at the proper moment.
:33:42
It creates unique atmosphere.
:33:44
It provides a shield for
the meeting of the lovers,
:33:46
by its contrast of busy action
with complete calm.
:33:51
It is no longer
only pictorial and instructive,
:33:54
it is dramatic,
:33:56
and a necessary part of the film.
:33:59
This was done by cutting
the two episodes together.
:34:02
I brought back from Foula
:34:04
two good
but sharply different sequences,
:34:07
one dramatic,
the other documentary.
:34:10
A casual observer, an unskilled
technician, a bad cutter,
:34:14
would have recommended
cutting the run to a minimum
:34:17
or losing it altogether.
:34:18
"No time for a lot of sheep,
they've seen sheep before."
:34:22
A cutter of genius,
like Derek Twist,
:34:25
conceives the idea
of combining the two sequences.
:34:28
(Dialogue) A hard man, you mean.
:34:30
Oh, no worse than you all are.
:34:32
You said yourself he won't hear
my name spoken since Robbie died.
:34:36
- You canna blame him for that.
- No?
:34:40
Will I speak to him?
:34:42
He'll never let us marry... now.
:34:45
(Christie)
One of the delightful details
:34:48
in Powell's book
about the making of the film
:34:50
is the fact that
many of the exterior sequences
:34:53
were shot to the accompaniment
of a wind-up gramophone,
:34:58
which Powell carried around with him,
usually playing Smetana's Moldau,