One has the Flemish film of the year, the other the last Flemish film of the year. Lukas Dhont and Jan Verheyen this weekend in dS Weekblad about the straddle between the private soul and the public. “In the past, I said:” the public is always right. I have to come back.’
dS Magazine spoke with the directors Lukas Dhont and Jan Verheyen. For the full interview you can read on Saturday. Below you will find a taste of that.
If you go to Los Angeles, you will really have a driver’s license is required.” Jan Verheyen has some advice for Lukas Dhont this weekend back to L. A. flies, with his fresh nomination for the Golden Globes in the bag. The 27-year-old director, there must be some impressions, introduce for members of the Academy, in the hope that his Girl also nominated for the Oscar for best foreign film. From there, he flies at the end of next week then back to Seville, where he has the chance at three European Film Awards.
For Most of the ambitions are closer to home: next week is The colleague’s 2.0, based on the series that four decades ago first ran on the then-BRT. Oscarnominaties will Verheyen not to get – let alone rave reviews – but that will be the director of two F. C. The Champions-blockbusters sausage creature. ‘Ironically, movie reviews will only effect people who never go to the cinema: that never with their own eyes that the critics are wrong.’
Do you have ‘Girl’ already seen?
Verheyen: “of Course, I see all of Flemish films in the cinema, except for the really marginal stuff that only half a week get the chance. Pick it up later through other media. For the Flemish movie is a boerenjaar been: with Patser, Girl , and don’t shoot reached three Flemish films to a large audience. Both Patser if Girl is also in my top 10 of the year. Rabot is one of the best documentaries that I in 2018 saw. And in the meantime the supporter I for the men who are in America trying to make. The Dutch will sit for thirty years, with an enclave in Hollywood, now we come, finally, with “Beautiful Boy , Felix van Groeningen and soon Bad Boys of Adil El Arbi, red.) and Bilall (Fallah, eds.). Very punishment is that.’
Makes you not jealous? When Luke was still in diapers, made in Hollywood ever ‘The Little Death’, an erotic thriller that has little pots broke. It Was not the right time?
Verheyen: “It was especially for me not the right time. I was too young.”
Dhont: “How old were you?’
Verheyen: ‘28. I had only one other film made. The Little Death is a sobering, at times humiliating experience for me (Verheyen came into collision with the producers, ed.). It depends certainly of talent, but also of the right time, the right place, the right movie. So many conditions are of interest. Erik Van Looy made with The Loft in the same way, on a much larger scale. I returned purified back to Belgium: in one fell swoop, I was cured of my American dream. But it has me also enriched: without that experience, I never had All must go. Then I decided: better a big fish in a small pond, than a small fish in a ocean.’
Lukas, tickles it to you not to in the US to film?
Dhont: “To my own stories to film, it is more comfortable to work here. But if there is interesting material from the States, why not? I already have multiple times, my interest to get started with the book A little life by Hanya Yanagihara. I know that there is a twelve-part series for Hulu (the American streaming site, red.) is made. So I’m on the sniff.’
Verheyen: “So you should do: be open to what comes at you. Call it a lack of ambition, but I see myself not to America pulling an agent search, rent an apartment, twenty meetings per week, and wait for the phone to ring. I am 55, time is running out. From the past that Flemish film rather tends to be ‘out with the old, in with the young’.’
You create, nevertheless films to the current band?
Verheyen: ‘I have to. I like to make a lot of movies, and without the support of the netherlands film fund. I am a craftsman: me you books. Producers may call me. I don’t need everything I own storyboard also from zero to develop. Movies that I write, such as The judgment, taking with me three to five years to complete. To Red Sara, that next year I along with my wife’s turn, I am also already five years. But you won’t make it. The colleagues is commissioned work, but I’m amusing myself to death.’
Are you saying that a director with films on his sandwiches can’t pay?
Verheyen: “it’s not the kind of sandwiches that I eat. I find it much eervoller and more consistent to many of the films instead of commercials to run, which most of my colleagues do. Also I have no class, if only because there is no film school is that I would be let in.’
Dhont: “Why not?”
Verheyen: “I sometimes have feelings of opinions, that are not always considered to be “the right opinions”. I also just really like to be on a set, in contrast to esteemed colleagues such as Robbe De Hert, or Erik Van Looy.’
Saturday, read in dS Magazine for the full interview with Jan Verheyen and Lukas Dhont. “We need the death of cinema still do not write, but to people today in the cinema, you have to get them a very good reason.”