The evolving process of making the film is considered and the specifics of filming the river from a small boat is examined. Archive elements (manuscripts, photographs, films, The Triumph of Death painting and the original disk recording of TS Eliot readings from Four Quartets are scrutinised with consideration for the ways in which they are integrated with live-action scenes of the river as a means to articulate the film’s rhythm and meaning. Audience reactions to the finished film are considered including its reception following various film screenings and its first transmission on Channel Four Television.