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Dissolve to : 16 Engine driver's panel. Camera pans to left to take in scenery as train speeds by.
Dissolve to :
17 L.S. Furnaces and chimneys.
Dissolve to :
18 L.S. Valley with hills in background.
Dissolve to :
19 Cottage in the valley.
Dissolve to :
20 Valley with hills in background.
21 C.S. Wheels of engines ; fast rhythmic motion of pistons.
Commentator (Voice 8) :
Down towards Glasgow she descends
Towards the steam tugs, yelping down the glade of cranes Towards the fields of apparatus,
— the furnaces,
Set on the dark plain like gigantic chessmen.
All Scotland waits for her ;
In the dark glens beside the pale-green sea-lochs,
Men long for news.
Commentator (Voice A) :
Letters of thanks, letters from banks ;
Letters of joy from the girl and boy . . .
Ft. fr. 15 5
6 6
5 14
3 II
3 8
4 5
The sequence1 was the only part of the film which was not fully scripted before production began : its necessity had been agreed on at an earlier stage, but its actual shape was not evolved until the rest of the film was already in rough-cut. Some of the shooting had been done (speculatively) on location, but a few extra shots had to be obtained after Auden's verses had been agreed on. In general, it may be said that the editing tempo and the pictorial juxtapositions were largely determined by the previous composition of words and music ; (though this is rather a dangerous statement to make, since the whole job was a to-and-fro synthesis of effort involving Watt, Auden, McNaughton, Britten, Cavalcanti and myself : it would perhaps be better to say that the whole sequence resulted from a simultaneous group effort in terms of music track, word track and pictorial material). We were not working entirely in the dark, since we had the experiment of Coal Face on which to base our work.
The order of procedure was something like this : 1. The commentary was discussed, written and recorded : while recording voice A, a visual metronome was used to ensure a regular beat in the reading of the rhythmic passages ; 2. The picture was cut to fit in with the recorded words ; 3. Britten composed the score after seeing the above and recorded the music while listening to the words through ear-phones ; 4. The picture and v words were slightly re-edited to fit in with the music.
The excerpt quoted consists of four separate phases, each with its own motif :
(1) Shots 1-13 : " The gradient's against her.'1 The theme of
1 Notes by Basil Wright. 168