Sarah Konoski

So it felt to me instinctively almost from the moment that I spoke to Bart Volt that he would be at the centre of the film.

It was in a gur.

Well, in fact, we waited for them in a gur like at...

ancient sort of tent, a yurt.

And yeah, 10 hours of waiting.

And they appeared on the horizon on horseback and just side by side, almost in lockstep.

And they rode towards us.

It was quite a film worthy entry.

I think so.

They call it Mongolian time and you just have to be patient.

And, you know, I'll see you tomorrow at midday could mean the day after or several days.

And the distances are so vast that, you know, there could be many good reasons that it takes that long, that those 10 hours, you know, they won't talk about it necessarily and there's no apology.

It's just that's what it is, different relationship to time and distance.

Yeah, there was a lot of enthusiasm.

Our Mongolian producer, Enebesh Sangamanga, we call him Ene, he had, I guess, spoken to families before we arrived and worded them up about what we were hoping to do.

And I guess it was important on our first visit there to gauge from the families, from the elders, from Ene, our producer, just how much need there was for this story.

If there was a desire at all, we didn't want to impose anything.

Yeah, there was a lot of enthusiasm, yes, for it to happen, but they're like, how?

You know, this is very hard for us and we're inured to it.

How will you manage when the temperature drops to minus 20 and 30 and 40 and 50?