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The drama of the final was distilled into 20 minutes at the end of the feature. Goal! was edited at Samuelson's studios in Cricklewood. A national eruption of joy and our high-speed cameras were able to capture the elation.' Ross Devenish was the filmmaker behind Goal! He is pictured holding an award only months after the film had gone on release in 1966 Devenish pictured in South Africa more recently That was how the English supporters felt as well. My tension was enhanced by the potential disaster we faced if we had no film to cover the end. Feelings were still intense even though the war had ended some 20 years before. I have never before or since experienced the intensity of feeling that reached me in that arena. I am not really a sport fan but I love drama, and I appreciate the tension and excitement involved in a football match. 'It was as if it had been scripted by a master. The team I was filming with was behind one goal and we filmed the controversial third goal. 'I could feel the tension of the crew about whether we would run out, and the atmosphere in the stadium was overwhelming. 'Cameramen had been allocated film on the assumption it would be 90 minutes and, as the game went further into extra time, extra stock had to be rushed out.

'Extra-time was particularly nail-biting,' says Devenish. One camera was used solely to capture the emotions of the crowd. It was important to shoot only the crucial moments and cameramen had to pre-empt them.'Īt Wembley, some cameras were low, others high to cover the action and the goalmouths. 'We had to be conservative about exposing the film stock in earlier games. 'Apart from being expensive, you needed a lot of space to store the film,' says Devenish. Using 117 cameras, they shot 46 hours of footage on 35mm film, with high-speed cameras recording at 24 frames per second, amounting to more than 23 miles of film.

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'It's fair to say Goal! changed the manner in which TV now cover games.' it is easy to be fooled into thinking you have seen England's finest two hours in all its glorious colour when you haven't There is no complete footage of the 1966 World Cup final known to exist other than the black-and-white film broadcast to the nation at the time 'The other player who carved his own way into the film was Bobby Charlton with his few strands of hair flying untidily about and was a real star. The clarity of 35mm is much greater than 16mm so the material was amazing. It was a homage to his stature as a player, and those of his calibre. 'We could observe the mind behind the face. He was poetry in motion and we focused on him, helped by the facility we had to shoot the last few games in slow motion. 'We saw Pele's slow exit, heightened by the effects. 'Watching the destruction of a legend, the departure of a warrior was a major moment,' recalls Devenish. New technology enabled Devenish and Dino to get in close and concentrate on the emotions of the players such as Pele and his injury against Portugal.

What we could do was show the detail, taking the viewer within the experience, rather than having a bird's eye view of the battle.' 'As our film would be shown in cinemas, long after the event, we could not simply repeat what people had already seen. 'He saw the opportunity to do what television companies could not, liberating the world from gloomy black-and-white and see the World Cup for what it was, in Technicolour and in Vistavision, a wide-screen system, not a simple grey smudge of shadows. Octavio wanted to do for football what Ichikawa had done for the Olympics. 'Beyond just a news report, to something that lasted. 'We wanted to go beyond just a straight account,' 80-year-old Devenish tells Sportsmail from his home in Cape Town.

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The black and white footage of the entire 90 minutes plus extra time will be restored and colourised He recruited as directors Abidin Dino, a Turkish artist and political dissident living in Paris, and Ross Devenish, a South African filmmaker living in London. Senoret envisaged a cinematic masterpiece. He paid FIFA £15,000 for the rights to do it again four years later, inspired by Kon Ichikawa's acclaimed Tokyo Olympiad, a colour film made for cinema to document the Olympic Games of 1964. It proved a hit in cinemas around the world and was produced by Octavio Senoret, an actor turned producer responsible for the official World Cup film in 1962 when his native Chile hosted the tournament. Goal! navigates the thrills and spills of the tournament: the pain of Pele, Italy's demise at the hands of North Korea, the goals of Eusebio and its finale at Wembley Stadium.

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There certainly was a full colour film before, because a talented and eclectic team of filmmakers captured the game against West Germany in glorious technicolour and created a BAFTA award-wining documentary.