1:03:05
(Schoonmaker-Powell)
In the superimposition sequence,
1:03:08
they had to freeze
the shot of John Laurie
1:03:12
in order to get enough footage
1:03:15
so that they could put
the extended montage
1:03:18
of the images of the island over it.
1:03:21
It's kind of the thing probably
only a film maker would notice,
1:03:25
but again, Michael Powell sells it,
1:03:28
he dares you to even notice it,
actually.
1:03:39
(Christie) What we see
during the evacuation scene
1:03:42
is in fact the lifeline
that made the filming possible:
1:03:46
An old steamer called the Vedra,
which was captained by Vernon Sewell,
1:03:52
one of the staunch team
that Powell assembled around him,
1:03:56
all as committed as he was to making
this adventure result in a film.
1:04:04
Vernon Sewell had knocked around
doing many jobs in the film industry
1:04:09
and he was also quite a sailor.
1:04:12
He went on to make a film
1:04:14
which Powell produced, now working
with Pressburger: The Silver Fleet.
1:04:19
Then he had a later career directing
some remarkable Gothic horror movies
1:04:24
with titles like
The Blood Beast Terror
1:04:27
and Curse Of The Crimson Altar.
1:04:31
As Powell makes clear in his book,
without Sewell's commitment
1:04:35
and the sense of improvisation and
fun, just pulling together as a team,
1:04:39
this film would never have been made,
given the odds stacked against it.
1:04:44
What we see here,
1:04:45
in the evacuation scenes,
1:04:47
are some of the logistical problems
that the film's makers faced
1:04:51
when they were actually shooting.
1:04:58
(Dialogue) James, man,
I'm away up the Kame.