David Watkin

He received lifetime achievement awards in 2004 from the British Society of Cinematographers and the cinematographic-centric Camerimage Film Festival in Łódź, Poland. In Chariots of Fire, he "helped create one of the most memorable images of 1980s cinema: the opening sequence in which a huddle of young male athletes pounds along the water's edge on a beach" to the film's theme music by Vangelis.

• Name — David Watkin • Born — 23 March 1925 • Birthplace — Margate, Kent, England • Died — 19 February 2008 • Place of death — Brighton, East Sussex, England • Occupation — Cinematographer • Years Active — 1963–2001

Watkin was born in Margate, Kent, England, the fourth and youngest son of a Roman Catholic solicitor father and housewife mother, and grew up within a well-to-do upper-middle class household. He gained an early enthusiasm for European classical music, which was left to be satisfied only as a passive listener when his father rejected his request for a piano and lessons; Watkin always contended that he would rather have been a professional musician than a cinematographer. After a brief period in the Army during World War II, Watkin started work at the Southern Railway Film Unit in 1948 as a camera assistant. After the unit was absorbed into British Transport Films in 1950, he eventually climbed the ranks up to director of photography at BTF before going off to work freelance in commercials around 1960. Before working in feature films "as a fully fledged cinematographer", he shot the title sequence of the James Bond film, Goldfinger (1964) for Robert Brownjohn.

It was on a commercial shoot that he met Richard Lester, who hired him for his feature film, The Knack …and How to Get It (1965) which won the Palme d'Or at Cannes. The two men subsequently worked together on Help! (1965), How I Won the War (1967), The Bed-Sitting Room (1969), The Three Musketeers (1973), The Four Musketeers (1974), Robin and Marian (1976) and Cuba (1979).

He was noted for his very casual approach; when asked when he first developed a passion for photography, he answered that he hadn't yet (his main passions being classical music and books). However, filmmaking did have an attraction because, as he said, "I knew filmmakers didn't have to wear a suit". He also has a rather famous habit of sleeping on-set in between lighting setups, because "it's the only thing you can do on-set which doesn't make you more tired". This habit was humorously referenced in Night Falls on Manhattan (1996), which he shot, where he has a brief cameo towards the beginning as a sleeping judge. In the case of the film of Marat/Sade (1967), problems with a tight shooting schedule and restricted set space were innovatively resolved through the use of one single lighting set-up for the entirety of the film – a translucent wall lit by twenty-six 10 kW lamps as the sole source of light.

David Watkin lived in his adopted home town of Brighton, East Sussex, when he wasn't working on a "picture". He had a personal library of mostly First Edition 18th Century literature. He was openly gay.

David Watkin died, aged 82, at his home in Sussex Mews, Brighton on 19 February 2008, having been diagnosed with prostate cancer just six months previously.

Director of photography

• Year — Title — Director — Notes • 1966 — One-Eyed Jacks Are Wild — Franklin J. Schaffner • 1977 — Jesus of Nazareth — Franco Zeffirelli — First collaboration with Franco Zeffirelli • 1989 — Murder by Moonlight — Michael Lindsay-Hogg — First collaboration with Michael Lindsay-Hogg

• Year — Title — Notes • 1977 — Jesus of Nazareth — 4 episodes

The record carries the affiliation itself; it makes no claim about Watkin's standing within the field beyond what those bodies state.

He was generally recognised for the "painterly qualities" in his work with some critics comparing him with Vermeer, the Dutch artist "who often illuminated his subjects with light refracted through windows". In Out of Africa he broke with tradition and "used fast film for exteriors and slow film for night and interiors. This typically maverick move gave Sydney Pollack's film a lush, soft quality that matched its romantic mood".

Watkin also conceived 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). But this time-consuming approach created problems with multiple shadows of divergent angles. 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 ft 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 "Wendy-light" in his honour – Watkin, who was gay, used the camp name "Wendy".

His autobiographies, Why Is There Only One Word for Thesaurus?, first published in 1998 and the second volume, Was Clara Schumann a Fag Hag?, published in 2008, by Scrutineer Publishing, were both designed by his good friend the artist and designer Rachael Adams.

• Year — Title — Director — Award — Notes • 1965 — The Knack...and How to Get It — Richard Lester — First collaboration with Richard Lester • Help! — Second collaboration with Richard Lester • 1966 — Mademoiselle — Tony Richardson — First collaboration with Tony Richardson • 1967 — Marat/Sade — Peter Brook • How I Won the War — Richard Lester — Third collaboration with Richard Lester • 1968 — The Charge of the Light Brigade — Tony Richardson — Second collaboration with Tony Richardson • 1969 — The Bed Sitting Room — Richard Lester — Fourth collaboration with Richard Lester • 1970 — Catch-22 — Mike Nichols • 1971 — The Devils — Ken Russell — First collaboration with Ken Russell • The Boy Friend — Second collaboration with Ken Russell • 1973 — The Homecoming — Peter Hall • Yellow Dog — Terence Donovan • A Delicate Balance — Tony Richardson — Third collaboration with Tony Richardson • The Three Musketeers — Richard Lester — Fifth collaboration with Richard Lester • 1974 — The Four Musketeers — Sixth collaboration with Richard Lester • 1975 — Mahogany — Berry Gordy • 1976 — To the Devil a Daughter — Peter Sykes • Robin and Marian — Richard Lester — Seventh collaboration with Richard Lester • 1977 — Joseph Andrews — Tony Richardson — Fourth collaboration with Tony Richardson • 1979 — Hanover Street — Peter Hyams • That Summer! — Harley Cokeliss • Cuba — Richard Lester — Eighth collaboration with Richard Lester • 1981 — Chariots of Fire — Hugh Hudson • Endless Love — Franco Zeffirelli — Second collaboration with Franco Zeffirelli • 1982 — La Cenerentola — Jean-Pierre Ponnelle • 1983 — Yentl — Barbra Streisand • 1984 — The Hotel New Hampshire — Tony Richardson — Fifth collaboration with Tony Richardson • 1985 — Return to Oz — Walter Murch • White Nights — Taylor Hackford • Out of Africa — Sydney Pollack — Academy Award for Cinematography • 1986 — Sky Bandits — Zoran Perisic • 1987 — Moonstruck — Norman Jewison — First collaboration with Norman Jewison • 1988 — Masquerade — Bob Swaim • Journey to the Center of the Earth — * Rusty Lemorande * Albert Pyun • The Good Mother — Leonard Nimoy • Last Rites — Donald P. Bellisario • 1990 — Memphis Belle — Michael Caton-Jones — First collaboration with Michael Caton-Jones • Hamlet — Franco Zeffirelli — Third collaboration with Franco Zeffirelli • 1991 — The Object of Beauty — Michael Lindsay-Hogg — Second collaboration with Michael Lindsay-Hogg • The Cabinet of Dr. Ramirez — Peter Sellars • 1992 — Used People — Beeban Kidron • 1993 — This Boy's Life — Michael Caton-Jones — Second collaboration with Michael Caton-Jones • Bopha! — Morgan Freeman • 1994 — Milk Money — Richard Benjamin • 1996 — Jane Eyre — Franco Zeffirelli — Fourth collaboration with Franco Zeffirelli • Bogus — Norman Jewison — Second collaboration with Norman Jewison • Night Falls on Manhattan — Sidney Lumet — First collaboration with Sidney Lumet • 1997 — Through Roses — Jürgen Flimm • Obsession — Peter Sehr • Critical Care — Sidney Lumet — Second collaboration with Sidney Lumet • 1999 — Gloria — Third collaboration with Sidney Lumet • Tea with Mussolini — Franco Zeffirelli — Fifth collaboration with Franco Zeffirelli • 2001 — Lover's Prayer — Reverge Anselmo Actor • Year — Title — Director — Role — Notes • 1996 — Night Falls on Manhattan — Sidney Lumet — Sleeping Judge — Uncredited Camera and electrical department • Year — Title — Director — Role — Notes • 1964 — Goldfinger — Guy Hamilton — Cinematographer: Title sequence — Uncredited

• Year — Title — Director • 1963 — The Six-Sided Triangle — Christopher Miles

List of awards and nominations • Ceremony — Category — Year — Film — Result • Academy Awards — Best Cinematography — 1986 — Out of Africa • British Academy Film Awards — Best British Cinematography — 1966 — Help!, The Knack...and How to Get It • 1968 — Mademoiselle • Best Cinematography — 1969 — The Charge of the Light Brigade • 1971 — Catch-22 • 1975 — The Three Musketeers • 1982 — Chariots of Fire • 1987 — Out of Africa • British Academy Television Awards — Best Film Cameraman — 1978 — Jesus of Nazareth (shared with Armando Nannuzzi)