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  Macbeth: How now, you secret,   
 black and midnight hags,

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  I conjure you by that which you   
 profess, however you come to know it
  - answer me.

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  Though you untie the winds and let  
  them fight against the churches;

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  though the yeasty waves confound   
 and swallow navigation up;

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  through bladed corn by lodg'd and   
 trees blown down,

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  though castles topple on their   
 warders heads;

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  though palaces and pyramids do   
 slope their heads to their foundations;

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  though the treasure of nature's   
 germens tumble all together,

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  even till destruction sicken -   
 answer me!

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  Stephen Regan: What do you find   
 particularly impressive about the Orson
  Welles' Macbeth?

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  Kiernan Ryan: Well certainly the   
 black and white manages to make you feel
  as though...

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  you're imprisoned in some almost   
 hallucinatory internal universe.

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  I mean there were strange   
 cavernous underground corridors or rooms,

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  it's a kind of interior landscape  
 , a 'paysage intérieur' as the
  French call it,

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  so as if you're almost moving   
 around inside the subconscious of a
  character himself…

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  ..when he sinks to the lowest   
 depths of despair, in particular,

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  so I think that there is something  
  hallucinatory and dreamlike about
  Shakespeare anyway,

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  and I think the use of black and   
 white, of monochrome really
  can evoke that…

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  ..in a way that technicolour often  
  doesn't manage to because of its
  association…

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  ..with a more naturalistic   
 reproduction, photographic,
  kind of realism.

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  The use of shadow and silhouette   
 is very effective in the Welles,

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  (Stephen Regan) particularly when   
 those shadows coincide with…

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  ..moments in Macbeth's speeches,   
 references to light and darkness.

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  Sue Wiseman: But in a certain way   
 they're extraordinarily powerful
  even though...

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  they're moralised in almost the   
 same way as you find in a Western,

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  and they were working on a Western  
  set, in that very early…

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  ..the beginning of the light and   
 shade is when he's sitting talking
  to Banquo...

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  (Sue Wiseman) ..they're having   
 their conference, he's at the front
  of the stage…

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  (Sue Wiseman) ..as it were, or the  
  camera, and yet he's dark, whereas
  Banquo is light,

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  (Sue Wiseman) and at the back, and  
  the relationship between the
  black and white…

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  (Sue Wiseman) ..as it were, all   
 the way through, works in tension,

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  (Sue Wiseman) ..but does work   
 always so the lighter is the morally good
  quality and…

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  (Sue Wiseman) ..and it seemed   
 extraordinary to get a richness
  out of that…

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  (Sue Wiseman) ..while working with  
  a very simple as it were black and
  white morality.

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  (Sue Wiseman) It seems amazing.