Word: watkin
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Almost everyone involved with Robin and Marian could be a champion. One thinks immediately of the model supporting cast: Richard Harris as Richard Lionheart, Denholm Elliott as Will Scarlett, Ian Holm as King John, Kenneth Haigh as the duplicitous Sir Ranulf. There is also the ravishing cinematography of David Watkin, who makes Sherwood into a forest well suited to legend. Particularly there is Sean Connery's Robin Hood, Nicol Williamson's Little John, Robert Shaw's winter-eyed Sheriff, Audrey Hepburn's Maid Marian-and Richard Lester, a film maker of deft wit and frequent brilliance...
...third in the series of eight subscription presentations by The American Film Theater, and it is the first to be betrayed by staginess. All that Director Tony Richardson has done to give A Delicate Balance a cinematic flow is call upon the considerable talents of Cinematographer David Watkin. Having made that excellent choice, Richardson seems to have disappeared. Watkin uses a kind of embellished natural lighting. His uncluttered compositions can shock the eye with a shaft of light from a table lamp or lull it with a suggestion of the dark distances between night and morning. His craftsmanlike photography...
...superb cinematographer David Watkin has lit the family's old house in low, somber tones, giving it a tangible but evasive air of menace that perfectly matches the shadows and undertones of Pinter's language...
Italian police traced the cassette player to two 18-year-old British girls, Ruth Watkin and Audrey Walton, who told a classic story of what not to do when in Rome. One afternoon shortly after they arrived, they said, they had been standing in the Piazza dei Cinquecento, when two young men struck up a conversation with them. The pair, Ahmed Zaid and Ziad Hashan, both in their 20s, spoke excellent English and offered to show the girls around...
...scenario is fairly clear-cut; it is the mise en scéne that is so complex. Cinematographer David Watkin (Catch-22, The Charge of the Light Brigade) lights the sumptuous sets to give a consistent aura of hallucination. Russell lashes his actors into a histrionic verve that is reminiscent in equal parts of the Royal Shakespeare Company, the Living Theater and Bedlam. The supporting cast (Dudley Sutton and Michael Gothard most prominent among them) act like a chorus and look like creatures from a Bosch triptych. Oliver Reed is suitably forceful as Grandier; it is indeed his best performance...