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	<title>David Watkin &#187; John Legard</title>
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	<description>David Watkin: Oscar-winning Cinematographer</description>
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		<title>Light and Vermeer</title>
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		<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>

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		<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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		<title>The Cameraman Sleeping on Set</title>
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		<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>
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		<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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		<title>Working at British Transport Films</title>
		<link>http://davidwatkin.co.uk/2008/09/shared-triggered-and-jolted-memory/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
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		<pubDate>Thu, 04 Sep 2008 19:03:08 +0000</pubDate>
		<dc:creator>Scrutineer</dc:creator>
				<category><![CDATA[British Transport Films]]></category>
		<category><![CDATA[BTF in the 1950's]]></category>
		<category><![CDATA[BTF in the 1960's]]></category>
		<category><![CDATA[Clapper Boy]]></category>
		<category><![CDATA[Alan]]></category>
		<category><![CDATA[Baxter]]></category>
		<category><![CDATA[David Watkin]]></category>
		<category><![CDATA[England's North Counrty]]></category>
		<category><![CDATA[John Legard]]></category>
		<category><![CDATA[Richie]]></category>
		<category><![CDATA[Robertson]]></category>
		<category><![CDATA[Waterloo]]></category>
		<category><![CDATA[Williams]]></category>

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		<description><![CDATA[The career of David Watkin revealed through photographic glimpses&#8230; British Transport Films Alan working at 25 Saville Row, 1955 Alan and Tom in the Post Office Yard, Waterloo, 1956 BTF crew: Baxter, Richie and Williams England&#8217;s North Country BTF crew: Robertson and Richie]]></description>
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