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301 and Runaway should be ready for release by Christmas.” 47 (Having spent many years establishing Pacific Films as an independent company, John O’Shea would have been irked by the reference to the “Film Unit” which most readers would have associated with the National Film Unit.) The story explained that the crew “have been working mainly on the Franz Joseph Glacier whenever weather permitted, at a site 9000ft up the face. The 12 members of the unit are developing into hardened climbers, scrambling over crevasses with 30lb loads.” 48 The article further informed its readers that “the four girls [are] as tough as the men,” 49 and mentioned another difficulty of working on the face of the glacier: “One can hardly imagine anything more exasperating than continuity work day after day on a glacier which is imperceptibly moving and changing all the time.” 50 Interestingly enough, O’Shea recalled that shooting the scenes on the ice was not as difficult as might be imagined, and not “quite as onerous as the scenes at the lake. Because we went there at the normal time we were not so dependent upon the sky and the weather.” 51 Plate 22: Tony Williams in front of the plane shooting the walls of ice
Plate 23: John O’Shea adjusts Deirdre McCarron’s position while Tony Williams lines up a close up watched by (L to R) Ron Skelley, Michael Seresin and Barry Crump 302 The escaping pair, heading towards the Pass, reach a hut (which conveniently has an ice axe and a pair of climbing boots that fit Diana). They are being pursued by four men. Mindful of economies of scale O’Shea had cast his set designer Tom Rowell as the First Constable and the unpopular production assistant Dickie Lauder as Police Helper (with a brief speaking part). As the police party close in, Diana twists her ankle. Unable to continue she urges David to go on. Leaving her to the law, the runaway David Manning trudges off to an unknown destiny, via a montage of shots
Page 1 and 2: Copyright Statement The digital cop
Page 3 and 4: 282 intercut with exterior shots wh
Page 5 and 6: Plate 18: David Manning drags Tom M
Page 7 and 8: 286 brittle, silly, sophisticated.
Page 9 and 10: 288 unusually neat and presentable,
Page 11 and 12: Westland 290 Westland was David’s
Page 13 and 14: 292 equipment and therefore the int
Page 15 and 16: 294 offered by David, he wipes his
Page 17 and 18: 296 David, having pulled Diana into
Page 19 and 20: 298 SOS for you to come down here,
Page 21: 300 with the girl. They arrive in a
Page 25 and 26: 304 uncertain future. He too could
Page 27 and 28: wenn ein Gluckliches fallt. 54 John
Page 29 and 30: 308 terms - unless one read the sce
Page 31 and 32: 310 and helped to give the film a b
Page 33 and 34: 312 this decision was also a way to
Page 35 and 36: 314 able to write only one piece of
Page 37 and 38: 316 full of excitement I sat in the
Page 39 and 40: 318 vibrato of course. All strings
Page 41 and 42: 320 film circles for music that sha
Page 43 and 44: 322 mind of the protagonist. Unfort
Page 45 and 46: 1 Runaway contained over 750 scenes
Page 47 and 48: Chapter 15: RELEASE 326 Apart from
Page 49 and 50: 328 film might have an allegorical
Page 51 and 52: Plate 25: The Runaway poster 330
Page 53 and 54: 332 Governor General and Lady Fergu
Page 55 and 56: 334 The day after the Wellington sc
Page 57 and 58: 336 The review pointed out accurate
Page 59 and 60: 338 economic and political strictur
Page 61 and 62: 340 he assumed that finally the sce
Page 63 and 64: 342 The Roman Catholic newspaper Ze
Page 65 and 66: 344 of course expect from this firs
Page 67 and 68: Because those dear hearts, and gent
Page 69 and 70: 348 Runaway is more than a film mad
Page 71 and 72: 350 would have increased the dramat

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