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	<title>David Watkin &#187; Mademoiselle</title>
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	<description>David Watkin: Oscar-winning Cinematographer</description>
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		<title>Mademoiselle, 1966 for Woodfall</title>
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		<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>

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		<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>
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