:50:00
This is the point where
the whole community comes together.
:50:04
The wounds between the families
seem to be healed
:50:07
by the arrival of the child.
:50:09
At last, we see the community
dancing, singing,
:50:13
playing together,
:50:15
and the camera captures this sense
of community, because it moves.
:50:18
(Schoonmaker-Powell)
A few times during the shooting,
:50:22
they were able to lay down track in
order to do a classic tracking shot,
:50:27
as one would see probably more of
:50:30
if they had been in
a less inhospitable environment.
:50:32
And you'll see that here,
:50:35
as Finlay Currie
moves among the dancers.
:50:39
Here's the tracking shot.
:50:43
Difficult because of
the roughness of the land,
:50:47
but they must have figured out
a way to smooth out the track.
:50:51
But you see very little of that
in this film
:50:54
because of the difficulties
of the shooting.
:51:00
(Music and clapping)
:51:05
(Christie) There's also a real sense
of background here, too.
:51:09
Again, something unusual, we have...
dramatic scene in the foreground
:51:12
and, behind it, the whole sense
of different groups and pairings.
:51:17
It's a shot full of depth and infused
with a sense of community.
:51:28
In Lerwick...
this is the outside world,
:51:31
this is really the first time
we've been off the island.
:51:34
There's something quite evocative
about it to our eyes,
:51:37
because it looks
almost picturesque.
:51:40
But I think what it's meant
to stand for, in this context,
:51:43
is something industrial.
:51:45
It's alien, it's very different,
:51:47
the opposite of Foula.
:51:49
These great barrels, all piled up,
:51:51
speak of a busy, bustling port.
:51:53
Lerwick was very important
for the production of the film.
:51:57
It was the nearest base
:51:59
where they could go and watch
rushes in a cinema.