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	<title>David Watkin &#187; Feature Films</title>
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	<link>http://davidwatkin.co.uk</link>
	<description>David Watkin: Oscar-winning Cinematographer</description>
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		<title>Marat/Sade</title>
		<link>http://davidwatkin.co.uk/2010/10/maratsade/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2010/10/maratsade/#comments</comments>
		<pubDate>Fri, 01 Oct 2010 13:00:47 +0000</pubDate>
		<dc:creator>Scrutineer</dc:creator>
				<category><![CDATA[Feature Films]]></category>
		<category><![CDATA[Marat/Sade]]></category>
		<category><![CDATA[David Watkin]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/?p=1999</guid>
		<description><![CDATA[Marat/Sade is a 1967 adaptation of the Peter Weiss play, The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade. The film, adapted by Adrian Mitchell and directed by Peter Brook, used the full title in the opening credits, though most of the publicity materials used the shortened form. The cast included Ian Richardson, Patrick Magee, Glenda Jackson, Clifford Rose, and Freddie Jones. It was filmed at Pinewood Studios in Buckinghamshire and released by United Artists on February 22, 1967 in the United States, and March 8, 1967 in the United Kingdom. The film&#8217;s score comprised Richard Peaslee&#8217;s compositions. David Watkin served as cinematographer. Produced by Michael Birkett Original Music by Richard Peaslee Cinematography by David Watkin Film Editing by Tom Priestley Production Design by Sally Jacobs Art Direction by Ted Marshall Costume Design by John Hales Lynn Hope Gunilla Palmstierna-Weiss Makeup Department Alan Boyle makeup artist Alan Boyle wig maker Ken Lintott makeup artist Ken Lintott wig maker Bunty Phillips makeup artist (as Bunty Philips) Betty Sherriff hair stylist Production Management Jack Swinburne production manager Second Unit Director or Assistant Director Anthony Way first [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>Yellow Dog</title>
		<link>http://davidwatkin.co.uk/2010/08/yellow-dog/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2010/08/yellow-dog/#comments</comments>
		<pubDate>Thu, 05 Aug 2010 11:26:50 +0000</pubDate>
		<dc:creator>Scrutineer</dc:creator>
				<category><![CDATA[Feature Films]]></category>
		<category><![CDATA[Yellow Dog]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/?p=1976</guid>
		<description><![CDATA[From Time Out Film Guide The script credits list Kurosawa&#8217;s writer Shinobu Hashimoto, Professor Alan Turney, and John Bird &#8211; which just about sums it up. This is a highly eccentric spy fable about a &#8216;yellow dog&#8217; (Japanese private eye) who comes to London on a mission, only to find himself working in rather strained tandem with MI5. Kimura is given to making rice balls, moving into his superior&#8217;s garden shed, and running round (literally) in small circles. The film is directed with much amiable if incoherent humour by Donovan, image maker of the &#8217;60s, who apparently gave in to his passion for things Japanese and even financed it himself; but somewhere along the line the original thread of Hashimoto&#8217;s story seems to have got lost. Which doesn&#8217;t help anyone follow the plot, but does make for a strange experience. Director: Terence Donovan Cast: Jiro Tamiya, Robert Hardy, Carolyn Seymour, Joseph O&#8217;Conor, Hilary Tindall Cinematography: David Watkin Production Designer: Roger Burridge Producer: Terence Donovan Screenwriter: Shinobu Hashimoto Editor: Fergus McDonell Music: Ron Grainer]]></description>
		<wfw:commentRss>http://davidwatkin.co.uk/2010/08/yellow-dog/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
		</item>
		<item>
		<title>The Knack&#8230; And How to Get It</title>
		<link>http://davidwatkin.co.uk/2010/08/the-knack-and-how-to-get-it/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2010/08/the-knack-and-how-to-get-it/#comments</comments>
		<pubDate>Thu, 05 Aug 2010 11:05:53 +0000</pubDate>
		<dc:creator>Scrutineer</dc:creator>
				<category><![CDATA[Feature Films]]></category>
		<category><![CDATA[The Knack …and How to Get It]]></category>
		<category><![CDATA[David Watkin]]></category>
		<category><![CDATA[Rita Tushingham]]></category>
		<category><![CDATA[The Knack... And How to Get It]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/?p=1970</guid>
		<description><![CDATA[The film depicts the sexual competition between three roommates — the aggressive, womanizing drummer Tolen (Ray Brooks), the shy, paranoid schoolteacher Colin (Michael Crawford), and the neutral artist Tom (Donal Donnelly) — when a young girl from out of town, Nancy (Rita Tushingham), enters their London world.   Directed by Richard Lester Produced by Oscar Lewenstein Written by Charles Wood Starring: Rita Tushingham &#8211; Nancy Jones Ray Brooks &#8211; Tolen Michael Crawford &#8211; Colin Donal Donnelly &#8211; Tom John Bluthal &#8211; Angry Father Wensley Pithey &#8211; Teacher Timothy Bateson &#8211; Junkyard Owner Peter Copley &#8211; Picture Owner William Dexter &#8211; Dress Shop Owner Bruce Lacey &#8211; Surveyor&#8217;s Asst. Dandy Nichols &#8211; Tom&#8217;s Landlady Kenneth Farrington &#8211; Guardsman Music by John Barry Cinematography David Watkin Editing by Antony Gibbs Distributed by United Artists Corporation Release date 3rd June 1965 Running time 85 minutes Making the film immediately after working with The Beatles on A Hard Day’s Night and just prior to Help!, Lester made major changes to the play, adding his own touch through direct address, unexpected oddly-edited sequences, humorous subtitles, and a Greek chorus of disapproving members of &#8220;the older generation&#8221;. The film had Lester&#8217;s distinctive visual look. Talking about [...]]]></description>
		<wfw:commentRss>http://davidwatkin.co.uk/2010/08/the-knack-and-how-to-get-it/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Bed-Sitting Room</title>
		<link>http://davidwatkin.co.uk/2010/08/the-bed-sitting-room/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2010/08/the-bed-sitting-room/#comments</comments>
		<pubDate>Thu, 05 Aug 2010 10:48:59 +0000</pubDate>
		<dc:creator>Scrutineer</dc:creator>
				<category><![CDATA[Feature Films]]></category>
		<category><![CDATA[The Bed Sitting Room]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/?p=1962</guid>
		<description><![CDATA[The Bed-Sitting Room is a 1969 British comedy film directed by Richard Lester and based on the play of the same name. It was entered into the 19th Berlin International Film Festival The film is set on the third or fourth anniversary of a war which lasted two minutes and twenty-eight seconds, including signing the peace treaty. Three years after the nuclear holocaust, several survivors wander amidst the debris of London. Penelope is 17 months pregnant and lives with her lover, Alan, and her parents on a tube train in what remains of the London Underground. Other survivors include Capt. Bules Martin, who holds a &#8220;Defeat of England&#8221; medal, as he was unable to save Buckingham Palace from disintegration during the war. Lord Fortnum (Richardson) is fearful that he will mutate into the &#8220;bed sitting room&#8221; of the title. Mate is a fireguard, except that there is nothing left to burn. Shelter Man serves as a regional &#8220;head of government&#8221; over a decimated population. Similarly, the &#8220;National Health Service&#8221; is the name of a male nurse, although overwhelmed by the extent of the past war. Finally, there are two policemen, who hover overhead in a badly damaged Panda car that [...]]]></description>
		<wfw:commentRss>http://davidwatkin.co.uk/2010/08/the-bed-sitting-room/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>How I Won The War</title>
		<link>http://davidwatkin.co.uk/2010/08/how-i-won-the-war/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2010/08/how-i-won-the-war/#comments</comments>
		<pubDate>Thu, 05 Aug 2010 10:37:42 +0000</pubDate>
		<dc:creator>Scrutineer</dc:creator>
				<category><![CDATA[Feature Films]]></category>
		<category><![CDATA[How I Won the War]]></category>
		<category><![CDATA[David Watkin]]></category>
		<category><![CDATA[How I Won The War]]></category>
		<category><![CDATA[John Lennon]]></category>
		<category><![CDATA[Richard Lester]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/?p=1959</guid>
		<description><![CDATA[From David&#8217;s autobiography, Was Clara Shuman a Fag Hag? The preparation for the Lodz Festival in 2004 was the first time I’d thought to give a non-flippant answer to the question “What are your favourite films?” They are of course the four anti-war pictures, and favourite for no reason other than what they are about. How I won The War is perhaps the best. Charles Wood and I certainly think it is Richard Lester’s best. He chose Charles Ryan’s book because he couldn’t get the rights to Catch 22 (which, oddly enough, I ended up doing as well). In it Michael Crawford leads a platoon of soldiers through World War II getting one of their number killed in each campaign. Contemporary wartime black and white newsreels were cut together with our own material and the completed scene was then tinted a specific colour (Dunkirk – yellow, Arnhem – blue and so on). Instead of disappearing, the dead soldiers keep their places in the platoon, never speaking, and each in battle-dress dyed the colour of the scene in which he was killed. How I Won the War is a black comedy film directed by Richard Lester, released in 1967. The film stars Michael Crawford as bungling British Army Officer Lieutenant Earnest Goodbody, with John Lennon (Musketeer [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Help!</title>
		<link>http://davidwatkin.co.uk/2010/08/help/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2010/08/help/#comments</comments>
		<pubDate>Thu, 05 Aug 2010 10:30:22 +0000</pubDate>
		<dc:creator>Scrutineer</dc:creator>
				<category><![CDATA[Feature Films]]></category>
		<category><![CDATA[Help!]]></category>
		<category><![CDATA[David Watkin]]></category>
		<category><![CDATA[Richard Lester]]></category>
		<category><![CDATA[The Beatles]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/?p=1955</guid>
		<description><![CDATA[Help! is a 1965 film directed by Richard Lester, starring The Beatles — John Lennon, Paul McCartney, George Harrison and Ringo Starr — and featuring Leo McKern, Eleanor Bron, Victor Spinetti, John Bluthal, Roy Kinnear and Patrick Cargill. The soundtrack was released as an album, also called Help!. Directed by Richard Lester Produced by Walter Shenson Written by Charles Wood Marc Behm (story) Starring John Lennon, Paul McCartney, George Harrison, Ringo Starr, Leo McKern, Eleanor Bron, John Bluthal, Patrick Cargill, Victor Spinetti, Roy Kinnear, Mal Evans Music by The Beatles George Martin Ken Thorne Cinematography David Watkin Editing by John Victor Smith Distributed by United Artists Release date 29th July, 1965 Running time 92 min. original running time 111 min.]]></description>
		<wfw:commentRss>http://davidwatkin.co.uk/2010/08/help/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>A Delicate Balance</title>
		<link>http://davidwatkin.co.uk/2010/08/a-delicate-balance/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2010/08/a-delicate-balance/#comments</comments>
		<pubDate>Thu, 05 Aug 2010 10:22:19 +0000</pubDate>
		<dc:creator>Scrutineer</dc:creator>
				<category><![CDATA[A Delicate Balance]]></category>
		<category><![CDATA[Feature Films]]></category>
		<category><![CDATA[David Watkin]]></category>
		<category><![CDATA[Katherine Hepburn]]></category>
		<category><![CDATA[Tony Richardson]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/?p=1950</guid>
		<description><![CDATA[A Delicate Balance is a 1973 drama film directed by Tony Richardson. The screenplay by Edward Albee is based on his 1966 Pultizer Prize-winning play of the same title. The film was the second in a series produced by Ely A. Landau for his American Film Theatre, a subscription-based programme of screen adaptations of notable stage plays shown in five hundred theatres in four hundred cities. Directed by Tony Richardson Produced by Ely A. Landau Written by Edward Albee Starring Katharine Hepburn, Paul Scofield, Lee Remick, Kate Reid, Joseph Cotten Cinematography David Watkin Editing by John Victor-Smith Distributed by American Film Theatre Release date 10th December, 1973 Running time 133 minutes]]></description>
		<wfw:commentRss>http://davidwatkin.co.uk/2010/08/a-delicate-balance/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Used People</title>
		<link>http://davidwatkin.co.uk/2010/08/used-people/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2010/08/used-people/#comments</comments>
		<pubDate>Thu, 05 Aug 2010 10:15:04 +0000</pubDate>
		<dc:creator>Scrutineer</dc:creator>
				<category><![CDATA[Feature Films]]></category>
		<category><![CDATA[Used People]]></category>
		<category><![CDATA[Beeban Kidron]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/?p=1946</guid>
		<description><![CDATA[Used People is a 1992 American romantic comedy film directed by Beeban Kidron. The screenplay by Todd Graff, adapted from his 1988 off-Broadway play The Grandma Plays, takes a humorous look at a highly dysfunctional family living in the New York City borough of Queens circa 1969. Directed by Beeban Kidron Produced by Peggy Rajski Written by Todd Graff Starring: Shirley MacLaine, Kathy Bates, Jessica Tandy, Marcello Mastroianni, Marcia Gay Harden, Sylvia Sidney, Joe Pantoliano Music by Rachel Portman Cinematography David Watkin Editing by John Tintori Studio Largo Entertainment JVC Entertainment Distributed by 20th Century Fox Release date 16th December 1992 Running time 115 min]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Account Book, 1962 to 1976</title>
		<link>http://davidwatkin.co.uk/2009/10/account-book-1962-to-1976/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2009/10/account-book-1962-to-1976/#comments</comments>
		<pubDate>Thu, 08 Oct 2009 08:33:19 +0000</pubDate>
		<dc:creator>Chris Mullen</dc:creator>
				<category><![CDATA[Feature Films]]></category>
		<category><![CDATA[David Watkin]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=1450</guid>
		<description><![CDATA[Surviving in David&#8217;s papers was this account book which gives a detailed list of the feature films and TV commercials he worked on after leaving Transport until the height of his early career in 1976 and Joseph Andrews. It contains only one reference to London Transport, in 1962 , undoubtedly acting as a freelance.]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Mademoiselle, 1966 for Woodfall</title>
		<link>http://davidwatkin.co.uk/2009/09/mademoiselle-for-woodfall-1966/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2009/09/mademoiselle-for-woodfall-1966/#comments</comments>
		<pubDate>Fri, 25 Sep 2009 10:39:33 +0000</pubDate>
		<dc:creator>Scrutineer</dc:creator>
				<category><![CDATA[Feature Films]]></category>
		<category><![CDATA[Mademoiselle]]></category>
		<category><![CDATA[David Watkin]]></category>
		<category><![CDATA[Jean Genet]]></category>
		<category><![CDATA[Oscar Lewenstein]]></category>
		<category><![CDATA[Peter Handford]]></category>
		<category><![CDATA[Tony Richardson Woodfall 1966]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=1321</guid>
		<description><![CDATA[&#8220;My first picture with Tony [Richardson] was made in France with an entirely French crew, apart from myself and an editor I didn&#8217;t like. Oscar Lewenstein had uncovered a screen-play by Jean Genet written many years before, to while away one of his sojourns inside a French prison, that Genet himself had forgotten about…. It may have been this wildness in the place that caused Tony to decide quite early on to have only the actual sounds of nature, and no music. These was done for him by a very special recordist, Peter Handford, and led at one point to a typical exchange between them. Tony had asked for the sound of bats to be laid over one scene, and Peter explained that the frequency of bat sounds is outside the range of the human ear.&#8221;Well I’m most disappointed in you, Peter, why can&#8217;t you invent something?&#8221;… Quite early on Jocelyn Herbert, George Devine&#8217;s wife, arrived on a visit. It was a day when some farmers were doing something not very nice to an ox (I don&#8217;t know the specifics). The creature was cased in a heavy wooden frame where it couldn&#8217;t move, and Tony had set up close on [...]]]></description>
		<wfw:commentRss>http://davidwatkin.co.uk/2009/09/mademoiselle-for-woodfall-1966/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Light and Vermeer</title>
		<link>http://davidwatkin.co.uk/2009/09/light-and-vermeer/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2009/09/light-and-vermeer/#comments</comments>
		<pubDate>Mon, 14 Sep 2009 07:49:11 +0000</pubDate>
		<dc:creator>Chris Mullen</dc:creator>
				<category><![CDATA[Feature Films]]></category>
		<category><![CDATA[David Watkin Vermeer]]></category>
		<category><![CDATA[John Legard]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=1226</guid>
		<description><![CDATA[&#8220;I think it is terribly pretentious for people who are cinematographers to go around and say they looked at a painting by such and such a bod. Nothing irritated me more than, when I was doing Catch-22, Mike Nichols said I want it to look like Andrew Wyeth, that sort of thing is a red rag to a Bull for me. Anyhow it just so happened that I had been up to Kenwood House one Sunday and in Kenwood House there is a Vermeer&#8230; I like Vermeer very much. And looking at that  and seeing the calm and beauty of it and realising all the light was coming from the window &#8211; there was nothing else. And all the rest of the light in the picture was reflected back from that light coming through the window. And this stayed in my mind. It is the only time I have been influenced by a painting&#8221; Interview with John Legard and Alan Lawson 1994.]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Reflected Light/Direct Light</title>
		<link>http://davidwatkin.co.uk/2009/09/light-shredded-wheat-the-knack-and-the-maratsade/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2009/09/light-shredded-wheat-the-knack-and-the-maratsade/#comments</comments>
		<pubDate>Mon, 14 Sep 2009 07:44:14 +0000</pubDate>
		<dc:creator>Chris Mullen</dc:creator>
				<category><![CDATA[Feature Films]]></category>
		<category><![CDATA[Marat/Sade]]></category>
		<category><![CDATA[Richard Lester commercial]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=1222</guid>
		<description><![CDATA[David first used the technique of reflected light rather than direct lighting on a documentary film he was doing about London Transport buses (All That Mighty Heart 1962). &#8220;And it had a scene in Welwyn Garden City. In some house there was a housewife tidying up and vacuuming before getting on a Green Line bus. And I decided I would do this &#8211; this was the first time I, or anyone else,  had done this &#8211; was to aim a brute through the window of this house, but that everything inside should be reflected.&#8221; Then he left documentaries and started doing commercials, sometimes using that particular kind of reflected lighting. &#8220;I still did key light, filler and back all the time, but now and then, when I thought it would be suited to it, I would use that technique. So I did it on a Shredded Wheat commercial for Richard Lester at Viking Studios. I didn&#8217;t think much of it, I thought it was nice, and that was that. The next day Richard had seen the rushes. I hadn&#8217;t. And I remember he came up to me in the street outside and said &#8216;I can&#8217;t believe that, it looks so beautiful.&#8217; He [...]]]></description>
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		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>On the Set of Catch-22</title>
		<link>http://davidwatkin.co.uk/2009/09/catch-22-a-diary-of-planes-pilots-and-pratfalls-buck-henry-life-date-unknown/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2009/09/catch-22-a-diary-of-planes-pilots-and-pratfalls-buck-henry-life-date-unknown/#comments</comments>
		<pubDate>Mon, 07 Sep 2009 09:29:13 +0000</pubDate>
		<dc:creator>Chris Mullen</dc:creator>
				<category><![CDATA[Catch 22]]></category>
		<category><![CDATA[Feature Films]]></category>
		<category><![CDATA[Remembering DW]]></category>
		<category><![CDATA[Cinematography]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=1087</guid>
		<description><![CDATA[&#8220;The visual style of the film is the province of the lighting director, David Watkin, whose work on Charge of the Light Brigade particularly impressed [Mike] Nichols. Watkin has the disarming habit of, when being asked a direct question, answering with &#8220;Well-&#8230;&#8221; and then leaving the room. He has spent a great part of the rehearsal week lying on his back and staring through a dark filter at the sky. Some of us believe he is trying to perform a miracle. Others are sure that he simply sleeps in that position. Clive Reed, the first assistant whose job is to see that everybody&#8217;s job gets done, handles Watkin (as he does the others) with the style of of a somewhat whimsical concentration camp director. When Watkin&#8217;s fascination with the sun, seems to approach a cataleptic trance, Reed will inform him that a tarantula is approaching.&#8221; When this account was read to him, David explained Buck (who he adored) had simply failed to understand the technical purpose of the exercise. Pressed about sleeping, he agreed there was a distinct possibility. The reference to the spider still caused him to shudder and pale.]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Cameraman Sleeping on Set</title>
		<link>http://davidwatkin.co.uk/2009/08/the-cameraman-sleeping-on-set/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2009/08/the-cameraman-sleeping-on-set/#comments</comments>
		<pubDate>Thu, 20 Aug 2009 09:40:00 +0000</pubDate>
		<dc:creator>Scrutineer</dc:creator>
				<category><![CDATA[Feature Films]]></category>
		<category><![CDATA[Alan Lawson]]></category>
		<category><![CDATA[David Watkin]]></category>
		<category><![CDATA[John Legard]]></category>
		<category><![CDATA[Sleeping]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=1044</guid>
		<description><![CDATA[Speaking of his attitude on set, &#8220;What it meant was that I would light a set, watch a rehearsal and then I would actually go to sleep, because it is the one thing you can do on a film set that makes you less tired. Fortunately I don&#8217;t snore and I also wake up very easily, very quickly. I&#8217;m not droopy when I wake up, so I am fortunate in that respect. It certainly got me a bit of a reputation and it certainly caused a great stir the first time I worked in America where they are used to cameramen trying to look like cameramen all the time.&#8221; Interview with John Legard and Alan Lawson 1994]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Anxiety on Set, early days</title>
		<link>http://davidwatkin.co.uk/2009/08/anxiety-on-set-early-days/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2009/08/anxiety-on-set-early-days/#comments</comments>
		<pubDate>Thu, 20 Aug 2009 09:35:29 +0000</pubDate>
		<dc:creator>Scrutineer</dc:creator>
				<category><![CDATA[Feature Films]]></category>
		<category><![CDATA[Anxiety]]></category>
		<category><![CDATA[David Watkin]]></category>
		<category><![CDATA[Film set]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=1041</guid>
		<description><![CDATA[&#8220;I have been apprehensive only twice in my whole life. The first was when I arrived at that bakery in the Mile End Road, there was a car park and I saw all these trucks and lorries and generators. I saw the mass of a feature film unit for the first time that morning when I was doing those tests. That did make me nervous. The second time was the first morning, about the first half hour of shooting The Knack which was my first feature. Since then there has never been a moment. Thanks to Jimmie Richie and John Taylor, I had complete poise and confidence&#8221;.]]></description>
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		<title>Out of Africa &#8211; 1985</title>
		<link>http://davidwatkin.co.uk/2009/04/out-of-africa/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2009/04/out-of-africa/#comments</comments>
		<pubDate>Wed, 22 Apr 2009 19:09:32 +0000</pubDate>
		<dc:creator>Scrutineer</dc:creator>
				<category><![CDATA[Feature Films]]></category>
		<category><![CDATA[Out of Africa]]></category>
		<category><![CDATA[Academy Award Winner]]></category>
		<category><![CDATA[Best Cinematography]]></category>
		<category><![CDATA[David Watkin]]></category>
		<category><![CDATA[Meryl Streep]]></category>
		<category><![CDATA[Oscar]]></category>
		<category><![CDATA[Robert Redford]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=922</guid>
		<description><![CDATA[Out of Africa (1985) Based loosely on the autobiographical book by Isak Dinesen (pseudonym of Karen Blixen) published in 1937. The movie received 28 film awards, including seven Academy Awards. David Watkin won the Academy Award for Best Cinematography for his work on Out of Africa. www.youtube.com/watch?v=-FCLyikW6AI www.youtube.com/watch?v=eh3Mpp1xJOs Director: Sydney Pollack Cinematography: David Watkin Camera and Electrical Department Peter Allwork: aerial photographer Alan Barry: best boy Frank Connor: still photographer Freddie Cooper: camera operator Maurice Gillett: gaffer Rodrigo Gutierrez: camera operator: second unit Ray Hall: grip Ricky Hall: grip Ibrahim Jibril: grip Ali Matata: grip Mohamed Ngela: grip Mahmud Sheikh Omar: grip Stephen St. John: Steadicam operator (as Steve St. John) Mohamed Wafula: grip Douglas Kirkland: still photographer (uncredited) Barry Martin, (stage name: Barry Heywood), a good chum of David&#8217;s (and nurse to him in his final weeks), enjoyed the opportunity of playing as an &#8216;extra&#8217; in the film.]]></description>
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		<title>Phil Grabsky, Seventh Art</title>
		<link>http://davidwatkin.co.uk/2009/02/phil-grabsky-seventh-art/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2009/02/phil-grabsky-seventh-art/#comments</comments>
		<pubDate>Wed, 25 Feb 2009 10:24:59 +0000</pubDate>
		<dc:creator>Scrutineer</dc:creator>
				<category><![CDATA[Feature Films]]></category>
		<category><![CDATA[Remembering DW]]></category>
		<category><![CDATA[documentary]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[Frank Adams Brown]]></category>
		<category><![CDATA[Movie]]></category>
		<category><![CDATA[Mozart]]></category>
		<category><![CDATA[Phil Grabsky]]></category>
		<category><![CDATA[Seventh Art]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=903</guid>
		<description><![CDATA[I feel very fortunate to have met David. As it transpired, it was towards the end of his life but the man was so full of vitality that you could never have guessed he was ill. I was introduced to him following the completion of a film I&#8217;d made on a small boy in Afghanistan. One thing led to another and I shall never forget the lovely lunch of smoked salmon he prepared for me one day at his home. I could have stayed many more hours listening to his stories &#8211; and, when I read his book, was happy to read those very same stories (almost word-for-word I have to say!) all over again. David and I met a couple of times more &#8211; and I treasure his compliments of my cinematography &#8211; if David Watkin (Oscar-winner no less!) thought I was OK, then that was good enough for me. Funnily enough, David did me one extra service: he provided me with the voice of young Mozart &#8211; Frank Adams-Brown. Ironically, the last time we met was shortly before I headed off to make a film in Chernobyl. David thought I was mad to risk the radiation &#8211; though [...]]]></description>
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		</item>
		<item>
		<title>The Boyfriend</title>
		<link>http://davidwatkin.co.uk/2009/02/the-boyfriend/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2009/02/the-boyfriend/#comments</comments>
		<pubDate>Sun, 22 Feb 2009 12:22:10 +0000</pubDate>
		<dc:creator>Scrutineer</dc:creator>
				<category><![CDATA[Feature Films]]></category>
		<category><![CDATA[The Boyfriend]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[Ken Russel]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[Photography]]></category>
		<category><![CDATA[Portsmouth]]></category>
		<category><![CDATA[Theatre Royal]]></category>
		<category><![CDATA[Twiggy]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=835</guid>
		<description><![CDATA[Ken Russell&#8217;s The Boy Friend]]></description>
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		</item>
		<item>
		<title>Chariots of Fire &#8211; 1981</title>
		<link>http://davidwatkin.co.uk/2009/02/chariots-of-fire-1981/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2009/02/chariots-of-fire-1981/#comments</comments>
		<pubDate>Sat, 21 Feb 2009 13:41:55 +0000</pubDate>
		<dc:creator>Scrutineer</dc:creator>
				<category><![CDATA[Chariots of Fire]]></category>
		<category><![CDATA[Feature Films]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=1607</guid>
		<description><![CDATA[Directed by Hugh Hudson Written by Colin Welland Cinemtography by David Watkin Executive Producer: Dodi Fayad Chariots of Fire is a 1981 British film loosely based on historical events surrounding the British athletic team before and during the 1924 Summer Olympics in Paris. The story follows Harold Abrahams, a Jew out to overcome prejudice, and Eric Liddell, a devout missionary running for the glory of God. The film was nominated for seven Academy Awards and won four, including Best Picture. The title is a reference to the line, &#8220;Bring me my chariot of fire,&#8221; from the William Blake poem adapted into the hymn Jerusalem. The Blake poem was influenced by several Bible verses, most notably 2nd Kings 2:11 regarding Elijah being taken to heaven in a chariot of fire. The film&#8217;s working title was &#8220;Running&#8221; until Welland saw the scene with the singing of the hymn and decided to change the title. The famous beach scenes associated with the theme tune were filmed at West Sands, St. Andrews (the last scene of the opening titles crosses the 1st and 18th holes at St. Andrews Golf Course); a plaque commemorating the filming can be found there today. The scene at Trinity [...]]]></description>
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		<item>
		<title>Yentl &#8211; 1983</title>
		<link>http://davidwatkin.co.uk/2009/02/yentl-1983/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2009/02/yentl-1983/#comments</comments>
		<pubDate>Sat, 21 Feb 2009 11:57:02 +0000</pubDate>
		<dc:creator>Scrutineer</dc:creator>
				<category><![CDATA[Feature Films]]></category>
		<category><![CDATA[Yentl]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=1601</guid>
		<description><![CDATA[Directed by Barbra Streisand Writing credits: Jack Rosenthal (screenplay) and Barbra Streisand Cinematography: David Watkin Camera and Electrical Department Frank Batt: key grip Garrett Brown: Steadicam operator John J. Campbell: first assistant camera (as John Campbell) Derek Gattrell: gaffer (as Derek Gatrell) Gordon Hayman: camera operator: second unit David James: still photographer Brian Kemp: best boy Peter MacDonald: camera operator Douglas Milsome: camera operator: second unit (as Doug Milsome) Eamonn O&#8217;Keeffe: second assistant camera (as Eamonn D. O&#8217;Keeffe) Toby Phillips: Steadicam operator Andrew Shields: video operator Andy Arnautov: electrician (uncredited) Ray Potter : gaffer (uncredited)]]></description>
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		</item>
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