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<channel>
	<title>David Watkin &#187; Photography</title>
	<atom:link href="http://davidwatkin.co.uk/tag/photography/feed/" rel="self" type="application/rss+xml" />
	<link>http://davidwatkin.co.uk</link>
	<description>David Watkin: Oscar-winning Cinematographer</description>
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		<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>
		<wfw:commentRss>http://davidwatkin.co.uk/2009/02/the-boyfriend/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Marget Wallace</title>
		<link>http://davidwatkin.co.uk/2009/02/marget-wallace/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2009/02/marget-wallace/#comments</comments>
		<pubDate>Wed, 11 Feb 2009 23:14:16 +0000</pubDate>
		<dc:creator>Scrutineer</dc:creator>
				<category><![CDATA[Feature Films]]></category>
		<category><![CDATA[Remembering DW]]></category>
		<category><![CDATA[Tea with Mussolini]]></category>
		<category><![CDATA[Baird]]></category>
		<category><![CDATA[Books]]></category>
		<category><![CDATA[chaperone]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[Florence]]></category>
		<category><![CDATA[Francis David Watkin]]></category>
		<category><![CDATA[Franco Zeffirelli]]></category>
		<category><![CDATA[Jane Austen]]></category>
		<category><![CDATA[Marget Wallace]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[Personal]]></category>
		<category><![CDATA[Photography]]></category>
		<category><![CDATA[Tuscany]]></category>
		<category><![CDATA[TWM]]></category>
		<category><![CDATA[Uffizi Gallery]]></category>
		<category><![CDATA[Wendy]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=787</guid>
		<description><![CDATA[Filming Tea with Mussolini I met David at a party at Franco Zeffirelli&#8217;s home in Rome. My son had been cast to play Franco Zeffirelli in Tea With Mussolini (TWM) and I was to be his chaperone (required by law as he was under 18 years of age). We were told about David and his genius for lighting (Wendy lights included) before meeting him, so I was a bit tongue tied when we were introduced. Somehow, books came up (can you imagine a conversation with David that lasted more than 5 minutes, without books coming up?). Baird (son, mentioned previously) told David that he had given me the collected works of Jane Austen for my birthday the month before. That did it &#8211; Baird and I were now David&#8217;s new best friends &#8211; he was so happy to know that there would be readers on the set. A few years ago, David telephoned me, completely tickled. It seems he had been to the doctor and told to sit and wait in the waiting area. Being David he became absorbed in something other than the waiting. He heard his name being called by the nurse and went up to the desk. [...]]]></description>
		<wfw:commentRss>http://davidwatkin.co.uk/2009/02/marget-wallace/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
		</item>
		<item>
		<title>Clapper Boy</title>
		<link>http://davidwatkin.co.uk/2009/02/clapper-boy/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2009/02/clapper-boy/#comments</comments>
		<pubDate>Wed, 11 Feb 2009 23:03:52 +0000</pubDate>
		<dc:creator>Scrutineer</dc:creator>
				<category><![CDATA[British Transport Films]]></category>
		<category><![CDATA[Clapper Boy]]></category>
		<category><![CDATA[Barry Coward]]></category>
		<category><![CDATA[David Watkin]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[Personal]]></category>
		<category><![CDATA[Photography]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=776</guid>
		<description><![CDATA[Stills supplied by Barry Coward at Beulah]]></description>
		<wfw:commentRss>http://davidwatkin.co.uk/2009/02/clapper-boy/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>John Venables at Movietech</title>
		<link>http://davidwatkin.co.uk/2009/02/john-venables-at-movietech/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2009/02/john-venables-at-movietech/#comments</comments>
		<pubDate>Wed, 11 Feb 2009 21:18:55 +0000</pubDate>
		<dc:creator>Scrutineer</dc:creator>
				<category><![CDATA[Feature Films]]></category>
		<category><![CDATA[Remembering DW]]></category>
		<category><![CDATA[260 FPS]]></category>
		<category><![CDATA[Chariots of Fire]]></category>
		<category><![CDATA[Electrocuted]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[film industry]]></category>
		<category><![CDATA[Focus-puller]]></category>
		<category><![CDATA[great character]]></category>
		<category><![CDATA[John Venables]]></category>
		<category><![CDATA[Mike Conners]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[Movietech]]></category>
		<category><![CDATA[Personal]]></category>
		<category><![CDATA[Photography]]></category>
		<category><![CDATA[tea]]></category>
		<category><![CDATA[Vinten camera]]></category>
		<category><![CDATA[wicked sense of humour]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=771</guid>
		<description><![CDATA[I knew David for just over thirty years; I first met him in 1977 on a commercial that we were supplying equipment on. About a year later we were to supply equipment on the film Chariots of Fire which David was to light. David had a couple of scenes that needed high-speed photography and we had at the time a high-speed Vinten camera, which ran up to 260 FPS. David requested that we bought the camera down to Brighton for him to shoot some tests, which we agreed to do. So myself and Mike Conners, the focus puller, went down to David’s place. When we got there it was pouring with rain &#8211; really heavy. So David got in the car with a lad who was going to be running past camera. When we got to the sea front we got the camera set up and luckily we found a place to plug the camera into a mains socket from one of the rides there. We were now set to shoot, with the rain still pouring down. David turned to me and said &#8220;Do not switch the camera on till I tell you to&#8221;. David then walked quite a distance [...]]]></description>
		<wfw:commentRss>http://davidwatkin.co.uk/2009/02/john-venables-at-movietech/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Camerimage 2004</title>
		<link>http://davidwatkin.co.uk/2009/02/cameraimage-2004/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2009/02/cameraimage-2004/#comments</comments>
		<pubDate>Tue, 10 Feb 2009 11:39:55 +0000</pubDate>
		<dc:creator>Scrutineer</dc:creator>
				<category><![CDATA[Feature Films]]></category>
		<category><![CDATA[Music]]></category>
		<category><![CDATA[Camerimage 2004]]></category>
		<category><![CDATA[Daniel Barenboim]]></category>
		<category><![CDATA[David Watkin]]></category>
		<category><![CDATA[Deutsche Staatsoper Berlin]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[Lifetime Achievemnet Award]]></category>
		<category><![CDATA[Lodz]]></category>
		<category><![CDATA[Madelyn Most]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[One tries not to fuck it up]]></category>
		<category><![CDATA[Personal]]></category>
		<category><![CDATA[Peter Macdonald]]></category>
		<category><![CDATA[Photography]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=756</guid>
		<description><![CDATA[David received a Lifetime Achievement Award in 2004. The T-Shirt that year quoted David on its front: One tries not to fuck it up. Below are snaps of David&#8217;s friends, Peter Macdonald and Madelyn Most at Lodz. Daniel Barenboim &#8220;Shortterm thinking, or even worse, thoughtlessness, makes many people think that culture, education and the arts are there only to be thought about in good times. In my view, this is one of the most erroneous ways of thinking and a total miscalculation of human development, since it is only education that can be the basis for a better world in the future. Education should not only make culture in general and the arts in particular available to all human beings, regardless of the economic possibilities of the individual, but also ensure that the links between the arts and every other aspect of human life are ever present. Only this way will every artist feel that it is not only his duty, but a privilege to contribute for a better world where understanding and tolerance will bring peace and become a true weapon against ignorance and terrorism. I very much feel that these words are in the spirit of how David [...]]]></description>
		<wfw:commentRss>http://davidwatkin.co.uk/2009/02/cameraimage-2004/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>Tea with Mussolini</title>
		<link>http://davidwatkin.co.uk/2009/01/teawithmussolini/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2009/01/teawithmussolini/#comments</comments>
		<pubDate>Wed, 28 Jan 2009 16:38:25 +0000</pubDate>
		<dc:creator>Scrutineer</dc:creator>
				<category><![CDATA[Feature Films]]></category>
		<category><![CDATA[Tea with Mussolini]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[Franco Zeffirelli]]></category>
		<category><![CDATA[Maggie Smith]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[Personal]]></category>
		<category><![CDATA[Photography]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=714</guid>
		<description><![CDATA[Director: Franco Zeffirelli Writers: John Mortimer (writer) Franco Zeffirelli (autobiography) Release Date: 2 April 1999 (UK) Produced by Marco Chimenz, executive producer Clive Parson, producer Pippo Pisciotto, associate producer Riccardo Tozzi, producer Giovannella Zannoni, producer Frederick Muller, producer (uncredited) Original Music by Stefano Arnaldi Alessio Vlad Cinematography by David Watkin Film Editing by Tariq Anwar Casting by Mirta Guarnaschelli Emma Style Art Direction by Carlo Centolavigna Biagio Fersini Gioia Fiorella Mariani Costume Design by Anna Anni Jenny Beavan Alberto Spiazzi]]></description>
		<wfw:commentRss>http://davidwatkin.co.uk/2009/01/teawithmussolini/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Wendy Light</title>
		<link>http://davidwatkin.co.uk/2009/01/the-wendy-light/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2009/01/the-wendy-light/#comments</comments>
		<pubDate>Wed, 28 Jan 2009 16:15:00 +0000</pubDate>
		<dc:creator>Scrutineer</dc:creator>
				<category><![CDATA[Feature Films]]></category>
		<category><![CDATA[Cherry picker]]></category>
		<category><![CDATA[Cinematographer]]></category>
		<category><![CDATA[David Watkin]]></category>
		<category><![CDATA[Fay Lights]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[Inverse Square Law]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[Night Shoots]]></category>
		<category><![CDATA[Personal]]></category>
		<category><![CDATA[Photography]]></category>
		<category><![CDATA[Wendy]]></category>
		<category><![CDATA[Wendy Light]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=708</guid>
		<description><![CDATA[Conception of a new lighting technique Watkin conceived of the idea for a new light which would tackle the problem of light falloff during night shoots. Because of the inverse square law, light from even moderately strong sources starts to fall off fairly quickly as the subject walks away from the light source. Therefore films shooting at night had the problem of trying to hide light sources in places which would be out of shot but maintain a fairly constant level of illumination over any amount of distance (and thus not indicate a large lamp as a light source). His solution was to build a large array of tightly spaced Fay lights in a 14 x 14 square (196 lights total), which was then elevated 150 feet (46 m) high on a cherry picker placed roughly a quarter of a mile away. Due to the long distance between the light and the actors and the high luminescence of this light array, the actors could walk across long distances without the intensity of the light hitting them seeming to vary. Subsequently, the array was named the &#8220;Wendy-light&#8221; in his honour — Watkin, who was gay, used the camp name &#8220;Wendy&#8221;. Wikipedia Entry]]></description>
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		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>More BTF Images of David</title>
		<link>http://davidwatkin.co.uk/2009/01/more-btf-images-of-david/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2009/01/more-btf-images-of-david/#comments</comments>
		<pubDate>Wed, 28 Jan 2009 16:07:05 +0000</pubDate>
		<dc:creator>Scrutineer</dc:creator>
				<category><![CDATA[British Transport Films]]></category>
		<category><![CDATA[BTF in the 1950's]]></category>
		<category><![CDATA[Clapper Boy]]></category>
		<category><![CDATA[Feature Films]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[Personal]]></category>
		<category><![CDATA[Photography]]></category>
		<category><![CDATA[Southampton Docks]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=700</guid>
		<description><![CDATA[British Transport Films was an organisation set up in 1949 to make documentary films on the general subject of British transport. Its work included internal training films, travelogues (extolling the virtues of places that could be visited via the British transport system &#8211; mostly by rail), and &#8220;industrial films&#8221; (as they were called) promoting the progress of Britain&#8217;s railway network.]]></description>
		<wfw:commentRss>http://davidwatkin.co.uk/2009/01/more-btf-images-of-david/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>A Tendency to Sleep</title>
		<link>http://davidwatkin.co.uk/2008/11/sleep/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2008/11/sleep/#comments</comments>
		<pubDate>Thu, 20 Nov 2008 16:02:37 +0000</pubDate>
		<dc:creator>Scrutineer</dc:creator>
				<category><![CDATA[Feature Films]]></category>
		<category><![CDATA[Remembering DW]]></category>
		<category><![CDATA[Charles Hewitt]]></category>
		<category><![CDATA[Cher]]></category>
		<category><![CDATA[David Watkin]]></category>
		<category><![CDATA[Eyepiece Magazine]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[Green]]></category>
		<category><![CDATA[Green Sneakers]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[Personal]]></category>
		<category><![CDATA[Photography]]></category>
		<category><![CDATA[Sleep]]></category>
		<category><![CDATA[Sleeping on set]]></category>
		<category><![CDATA[Tea with Mussolini]]></category>
		<category><![CDATA[Working on set]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=499</guid>
		<description><![CDATA[David would, very occasionally, take a little nap on set.. And, on those rare occasions, invariably somebody would have a camera at hand&#8230; David found a little cave-like area near the church in San Gimignano, where he could beat the heat and nap. When Baird found this out, he followed suit. I call these pictures Cinematographer and Studying to be a Cinematographer. Marget Wallace, Tea with Mussolini &#8220;But one last rumour to be tested, and that came without prompting &#8211; the Watkin penchant for sleeping on set; &#8220;I will always light a set as if I am lighting a scene, not a shot. I will light it so that it is fireproof. I will watch the rehearsal and I will have a very good operator and a very good chief electrician who will watch the shooting and if anything goes wrong they will wake me up &#8211; I will retire to a quiet corner of the set and probably have a sleep because I&#8217;m very fortunate that I don&#8217;t snore and I can wake up instantly. It&#8217;s great for shocking Americans. Cameramen try and look like cameramen out there &#8211; they don&#8217;t go to sleep&#8221;. Charles Hewitt interviewing David in [...]]]></description>
		<wfw:commentRss>http://davidwatkin.co.uk/2008/11/sleep/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Renato Bertha</title>
		<link>http://davidwatkin.co.uk/2008/08/renato-bertha/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2008/08/renato-bertha/#comments</comments>
		<pubDate>Sat, 30 Aug 2008 14:20:43 +0000</pubDate>
		<dc:creator>Scrutineer</dc:creator>
				<category><![CDATA[Feature Films]]></category>
		<category><![CDATA[Remembering DW]]></category>
		<category><![CDATA[2004]]></category>
		<category><![CDATA[Camerimage]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[Lifetime Achievement Award]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[Personal]]></category>
		<category><![CDATA[Photography]]></category>
		<category><![CDATA[Renato Bertha]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=89</guid>
		<description><![CDATA[My meeting with David: I was part of a jury at the 2004 edition of Cameraimage. We were all staying in a particularly depressing hotel where the smell of fried foods was everywhere. In the morning, while I was having breakfast, a man, who appeared both to be of a certain maturity yet also youthful at the same time and who had a lock of hair hanging down over his forehead as if he’d just got out of bed, armed with a large cup of muesli in one hand and two empty soup bowls in the other, asked me if the place alongside mine was occupied. He sat down, put some muesli into one of the empty bowls and then very methodically took the raisons, one by one, and placed them on the table. He then transferred the raisonless muesli into the second empty bowl before pouring the remains of the cup into the now vacated first bowl and began the process all over again. His gestures appeared to be so certain and meticulous, yet also gracious and delicate that I was intrigued. He was so completely absorbed by his actions that I couldn’t even manage to catch his eye. [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Watkin: The Grandfather</title>
		<link>http://davidwatkin.co.uk/2008/06/watkin-the-grandfather/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2008/06/watkin-the-grandfather/#comments</comments>
		<pubDate>Wed, 18 Jun 2008 14:30:57 +0000</pubDate>
		<dc:creator>Scrutineer</dc:creator>
				<category><![CDATA[David Watkin at home...]]></category>
		<category><![CDATA[Remembering DW]]></category>
		<category><![CDATA[David Watkin]]></category>
		<category><![CDATA[Frank and Luther]]></category>
		<category><![CDATA[Photography]]></category>
		<category><![CDATA[snapshots]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=998</guid>
		<description><![CDATA[When the boys first met David they were really quite little. They&#8217;d been thrilled by the chocolate cake, the painting with the &#8216;changing-faces&#8217;, the piano, the fountain on/off switch, the precariously tall library steps, the phenomenal use of the word &#8216;fuck&#8217; and the even more delicious &#8216;cunt&#8217;. And they told him as much. Then they adopted him as their &#8216;Grandfather figure/substitute&#8217;. As a member of The Family, David delighted in being: The naughtiest and most outrageous helper of children&#8217;s homework; our Sunday Dinner companion; our Saturday tea-time visitor; our Birthday remember-er and most indulgent fan of Luther and Frank&#8217;s apparent talents. He accompanied us on day-trips, took us on jaunts to watch opera, gave the maddest piano-lessons, attempted to teach Classical Music Appreciation, defended any injustice inflicted upon us, telephoned umpteen times a day and shared in our worries and our plans&#8230; The Episode of the &#8216;Temporary&#8217; Blue Dye Snap Shots Frank began skate-boarding at The Level in Brighton when he was about 10 &#8211; it&#8217;s a park near the centre of town which attracts it&#8217;s fair share of drinkers, hosts a fun-fair on Bank Holidays and is surrounded by scrubby bushes&#8230; David thought it would be fun to take [...]]]></description>
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		</item>
		<item>
		<title>David Garfath</title>
		<link>http://davidwatkin.co.uk/2008/05/david-garfath/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2008/05/david-garfath/#comments</comments>
		<pubDate>Thu, 08 May 2008 12:15:41 +0000</pubDate>
		<dc:creator>Scrutineer</dc:creator>
				<category><![CDATA[Feature Films]]></category>
		<category><![CDATA[Remembering DW]]></category>
		<category><![CDATA[David Garfath]]></category>
		<category><![CDATA[David Watkin]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[Focus-puller]]></category>
		<category><![CDATA[Gaffer]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[Personal]]></category>
		<category><![CDATA[Photography]]></category>
		<category><![CDATA[Richard Lester]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=82</guid>
		<description><![CDATA[One of my favourite memories is him phoning me, hardly able to speak for laughter, to tell me why I wasn&#8217;t going to work with him on a film. He was about to photograph a film for Richard Lester who always used two cameras so needed two camera operators. At the time I was an assistant (focus puller), and only one of their regular operators was available, so David suggested upgrading me to camera operator. Richard said in the past he had upgraded an &#8220;excellent&#8221; focus puller but it hadn&#8217;t really worked. David, as sharp as ever, came back with &#8220;Oh don&#8217;t worry about that – David Garfath is a terrible focus puller. Cut to two weeks later when another of their regular operators became available there was a discussion as to who should pull focus. Obviously, much to David&#8217;s amusement, I didn&#8217;t get to pull focus on the film either. David was right of course, I was a dreadful focus puller, but did go on to operate several films for Richard Lester. Whenever I think back to David it is always with laughter, not a bad legacy to leave.]]></description>
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		<title>BTF by Barry Coward</title>
		<link>http://davidwatkin.co.uk/2008/03/btf/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2008/03/btf/#comments</comments>
		<pubDate>Fri, 14 Mar 2008 17:11:25 +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[All That Mighty Heart]]></category>
		<category><![CDATA[Barry Coward]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[Holiday]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[Personal]]></category>
		<category><![CDATA[Photography]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=611</guid>
		<description><![CDATA[Born into an illustrious railway family, David Watkin began work with the Southern Region Film Unit of British Railways in the late 1940&#8242;s. In 1950 he became a messenger boy and assistant cameraman at British Transport Films. Barry Coward writes: One day in 1981 I received a phone call from a David Watkin asking for a video copy of the BTF production Under Night Streets. At that time I was head of the Public Relations Strategy Team at London Transport and BTF had recently sent all the film they had shot for London Transport to us, as part of the winding up operation run by Jimmy Ritchie. We did telecine Under Night Streets for David and subsequently he paid for other BTF titles to be tele-cined including Care of St Christopher&#8217;s, What&#8217;s in Store, The Finishing Line (made long after David had left BTF, but directed by John Krish, who&#8217;s work David much admired), Holiday, All That Mighty Heart, A Desperate Case, MFD Re-railing Equipment, Diesel Train Driver and Snow Drift at Bleath Gill. British Transport Films was created by the British Transport Commission following nationalisation of much of the country&#8217;s public transport, road haulage, ports and waterways by the [...]]]></description>
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		<slash:comments>3</slash:comments>
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		<title>Charge of the Light Brigade &#8211; 1968</title>
		<link>http://davidwatkin.co.uk/2008/03/charge-of-the-light-brigade/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2008/03/charge-of-the-light-brigade/#comments</comments>
		<pubDate>Thu, 13 Mar 2008 15:08:14 +0000</pubDate>
		<dc:creator>Scrutineer</dc:creator>
				<category><![CDATA[Charge...]]></category>
		<category><![CDATA[Feature Films]]></category>
		<category><![CDATA[Charge of the Light Brigade]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[Personal]]></category>
		<category><![CDATA[Photography]]></category>
		<category><![CDATA[Review]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=546</guid>
		<description><![CDATA[Directed by Tony Richardson Written by Charles Wood Cinematography: David Watkin Film Editing: Kevin Brownlow and Hugh Raggett The Charge of the Light Brigade is a British war film made in 1968 by Woodfall Film Productions, which held the rights to the 1936 film version at the time. It was directed by Tony Richardson. The screenplay was written by Charles Wood from a first draft (uncredited) by John Osborne. It aimed to be brutally authentic, based in part on the research in Cecil Woodham-Smith&#8217;s The Reason Why (1953). The film included animations by Richard Williams, based on the contemporary graphic style of Punch Magazine, in order to explain the political events surrounding the battle. The music score was by John Addison and the cinematography by David Watkin. The barracks scenes in the first half of the film were filmed at Aldershot in Hampshire, while the &#8216;Crimea&#8217; scenes, including the Charge itself, were filmed in Turkey. The Charge of the Light Brigade was nominated for six BAFTA Film Awards. Camera and Electrical Department Alan McCabe: camera operator Bernie Prentice: gaffer (as Bernard Prentice)]]></description>
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		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>Awards</title>
		<link>http://davidwatkin.co.uk/2008/02/awards/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2008/02/awards/#comments</comments>
		<pubDate>Wed, 27 Feb 2008 17:09:55 +0000</pubDate>
		<dc:creator>Scrutineer</dc:creator>
				<category><![CDATA[Feature Films]]></category>
		<category><![CDATA[Academy Award]]></category>
		<category><![CDATA[Awards]]></category>
		<category><![CDATA[BAFTA]]></category>
		<category><![CDATA[British Society of Cinematographers]]></category>
		<category><![CDATA[BSC]]></category>
		<category><![CDATA[Camerimage]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[Goldfinger]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[New York Film Critics Circle Awards]]></category>
		<category><![CDATA[Oscar]]></category>
		<category><![CDATA[Out of Africa]]></category>
		<category><![CDATA[Personal]]></category>
		<category><![CDATA[Photography]]></category>
		<category><![CDATA[Robert Brownjohn]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=608</guid>
		<description><![CDATA[Goldfinger (1964) Cinematographer: title sequence (uncredited). Pictured: DW behind the camera. Academy Awards, USA Oscar Winner The 58th Annual Academy Awards Oscar Best Cinematography for: Out of Africa (1985) BAFTA Awards 1987 Won BAFTA Film Award Best Cinematography for: Out of Africa (1985) 1982 Nominated BAFTA Film Award Best Cinematography for: Chariots of Fire (1981) 1978 Nominated BAFTA TV Award Best Film Cameraman for: Jesus of Nazareth (1977) (mini) Shared with: Armando Nannuzzi 1975 Nominated BAFTA Film Award Best Cinematography for: The Three Musketeers (1973) 1971 Nominated BAFTA Film Award Best Cinematography for: Catch-22 (1970) 1969 Nominated BAFTA Film Award Best Cinematography for: The Charge of the Light Brigade (1968) 1968 Nominated BAFTA Film Award Best British Cinematography (B/W) for: Mademoiselle (1966) 1966 Nominated BAFTA Film Award Best British Cinematography (B/W) for: The Knack &#8230;and How to Get It (1965) Best British Cinematography (Colour) for: Help! (1965) British Society of Cinematographers 1990 Nominated Best Cinematography Award for: Memphis Belle (1990) 1986 Won Best Cinematography Award for: Out of Africa (1985) 1981 Nominated Best Cinematography Award for: Chariots of Fire (1981) Camerimage 2004 &#8211; Lifetime Achievement Award Evening Standard British Film Awards 1991 Won Evening Standard British Film Award Best Technical/Artistic [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Obituary written by Chris Mullen</title>
		<link>http://davidwatkin.co.uk/2008/02/the-archive-of-david-watkin-oscar-winning-cinematographer/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2008/02/the-archive-of-david-watkin-oscar-winning-cinematographer/#comments</comments>
		<pubDate>Wed, 20 Feb 2008 09:00:05 +0000</pubDate>
		<dc:creator>Scrutineer</dc:creator>
				<category><![CDATA[David Watkin at home...]]></category>
		<category><![CDATA[Feature Films]]></category>
		<category><![CDATA[Remembering DW]]></category>
		<category><![CDATA[Autobiography]]></category>
		<category><![CDATA[Brighton]]></category>
		<category><![CDATA[Charge of the Light Brigade]]></category>
		<category><![CDATA[Cinematographer]]></category>
		<category><![CDATA[David Watkin]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[Kemptown]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[Mozart]]></category>
		<category><![CDATA[oscar winner]]></category>
		<category><![CDATA[Out of Africa]]></category>
		<category><![CDATA[Personal]]></category>
		<category><![CDATA[Photography]]></category>
		<category><![CDATA[Was Clara Schumann a Fag Hag?]]></category>
		<category><![CDATA[Why is there only one word for Thesaurus?]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=23</guid>
		<description><![CDATA[David Watkin died at the age of 82 in his mews house in Brighton at 10.15pm on the 19th of February, 2008 This must come as a shock to those of you who did not know of the severity of his illness, or were unaware of the speed of his decline in health. Those of us with him during the last days knew with what courage and fighting determination he confronted the inevitability of his cancer. His spirit, wicked humour, and relish for life were with him to the end, undiminished as he lost control of his body. Everything above the neck is wonderful, he would say, everything beneath, a nightmare. The hearing is the last of the senses to be surrendered, and he listened at the last to Mozart piano sonatas and Richard Strauss. Readers of his two printed memoirs will know the rich fabric of his life, the complex paradoxes of a man of complicated responses who always laid claim to the simplest of answers and propositions in dealing with life and the Film Industry. Friends will know how these paradoxes played out in conversations, negotiations, dealings and an infinite number of kindnesses, small and large, thoughtful and [...]]]></description>
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