:39:37
Here, mind that box. They're eggs.
:39:39
(Schoonmaker-Powell) The point
of view always very strong here,
:39:43
the camera always placed
looking down into the boat,
:39:47
the way someone would if they were
about to leave and on the dock,
:39:52
or the strong angle
up from the boat,
:39:55
the point of view
of the person who's leaving.
:39:58
Again, it would be much easier
:40:01
not to shoot
with the camera in the boat.
:40:03
You can imagine
how difficult that is.
:40:06
The amount of space
is very little,
:40:08
but a director who really knows
what he's doing
:40:11
will decide to do that,
no matter what the difficulty.
:40:16
The next sequence in the film,
of Ruth standing on the cliff side,
:40:21
mourning the loss of Andrew,
:40:23
is one of the most amazing
sequences in the film.
:40:26
Scorsese and I, when we first saw
the restored version,
:40:29
and discovered this
beautiful piece of film making,
:40:33
were just staggered.
:40:35
I don't know whether Michael
shot this sequence in the camera.
:40:39
I doubt it.
:40:41
I think, probably, he had this
very dramatic up-angle of Ruth
:40:46
and a beautiful shot that pans
from Ruth down to the ocean,
:40:52
and this beautiful, beautiful
superimposition
:40:56
which gives you the feeling
:40:58
of her desperation
and thoughts of suicide.