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<Black Book黑色名冊＞
故事簡介
第二次大戰期間，美麗的猶太歌手史莉荷（Rachel Stein）的藏身之所被炸毀，遂與家人經Biesbosch逃到已解放的荷蘭南部；可惜他們的船被一隻德國巡邏艇攔截，船上只有莉荷逃出生天。莉荷決定加入抗德游擊隊，化名「韋艾利絲」（Ellis de Vries）掩飾真正身分，並竭力調查是誰殺死她一家的兇手。
莉荷巧遇上德國軍官蒙茲（Muntze），蒙茲對她一見傾心。莉荷奉命潛入德國情報部門，救出一群被囚的抗德隊隊員，怎料有人告密，計畫最終慘告失敗，德國和抗德隊兩方都把矛頭指向莉荷，令她陷入腹背受敵的困境。在蒙茲的協助下，她又在過?匿藏的生涯，靜待戰爭結束。
可惜，戰爭結束並非為莉荷帶來自由，她亦未能揪出真正的出賣者，全因「所有倖存的人，都是罪人」．．．
演員履歷
Carice van Houten（飾 史莉荷 Rachel Stein）
Carice van Houten扮演「史莉荷」，為掩飾猶太人的身分，化名「韋艾利絲」(Ellis de Vries)，把頭髮染金，進行復仇計畫。
2000年畢業於阿姆斯特丹School of Acting, Musical Theatre and Cabaret 的Van Houten，分別於1999及2000年以電視電影＜Suzy Q＞和電影＜笨記者與聰明貓＞（Minoes）勇奪荷蘭的金牛獎。
Thom Hoffman（飾 艾加曼 Hans Akkermans）
Thom Hoffman飾演的「艾加曼」，是一名愛上莉荷/艾利絲，頭腦機智冷靜的抗德游擊隊成員。
＜黑色名冊＞是Thom Hoffman繼＜第四個男人＞（1983）後第二次與保羅華浩雲合作。同時是演員和著名攝影師的Hoffman，於1982年憑蒂奧梵高（Theo van Gogh）的＜Luger＞首次踏足影壇，1992年參與葛拉索德曼的＜De Bunker＞。其他電影包括＜De Witte Waan＞、＜The Birdwatcher＞、＜人間狗鎮＞等。
Halina Reijn（飾 Ronnie 朗妮）
Halina Reijn扮演的「朗妮」是莉荷/艾利絲的好友。識時務的她為了生存而替德國工作，但她的心並沒有背叛自己的國家。
Halina Reijn是一名風格多變的電影和舞台劇演員，去年她更推出了自己的首本小說《Prinsesje Nooit Genoeg》。
Sebastian Koch（飾 勞域蒙茲 Ludwig Muntze）
Sebastian Koch扮演德國軍官勞域蒙茲，他良好的本質，令他免於淪為一個冷漠殘酷、缺乏人性的人。
作為一個檔期繁忙的影、視、舞台演員，德國裔的Sebastian Koch最近參與了不少受當地人歡迎的電影，如＜Das Leben der Anderen＞、＜Das Fliegende Klassenzimmer＞、＜Amen＞、＜布達佩斯之戀＞（Gloomy Sunday）等。
Christian Berkel（飾 古拿 Kautner）
Christian Berkel扮演的安全部上將古拿，是一個冷酷無情、盲目服從指令的軍官。自1977年踏入影壇起，來自德國的Christian Berkel參與過逾50齣電影和電視電影。
Waldemar Kobus（飾 法根 Franken）
Waldemar Kobus飾演安全部士兵法根，他殘殺猶太人，並掠奪猶太人的財物。他曾參與的電影有：＜(T)Raumschiff Surprise＞、＜Besser als Schule＞、＜Narren＞、＜Ober by Alex van Warmerdam＞；警匪片＜Schimanski＞、＜Ein Fall fur Zwei＞，以及電視劇＜Tatort＞。
Michiel Huisman（飾 羅拔 Rob）
Michiel Huisman飾演莉荷喪失家園時收留她的男孩羅拔。＜黑色名冊＞是Huisman的第六部電影。他亦參與過電視劇＜Goede Tijden Slechte Tijden＞、＜Spangen＞及電視電影＜Suzy Q＞、＜Uitgesloten＞。演戲以外，他亦是樂隊Fontana的主音兼結他手。
Derek de Lint（飾 古吉本 Gerben Kuipers）
Derek de Lint飾演抗德游擊隊首領兼共產黨員古吉本。＜黑色名冊＞是他第二度與保羅華浩雲合作 - 於＜納粹軍旗下＞內，他扮演加入安全部的荷蘭納粹黨員。De Lint在荷蘭參與過無數電影及電視劇，國際層面上，他的作品包括＜Three Men and a Baby＞、＜布拉格之戀＞（The Unbearable Lightness of Being）、＜末日救未來＞（Deep Impact）、＜China Beach＞系列及＜Poltergeist: The Legacy＞。
Peter Blok（飾 馮剛 Van Gein）
Peter Blok扮演無恥功利的奸商馮剛。他曾參與過電影＜Stille nacht＞、＜In Oranje＞、＜Madelief and De Jurk＞等，以及2005年荷蘭影展開幕電影＜Leef!＞。電視劇有：＜Lieve Mensen＞、＜de Daltons＞、＜Oud Geld＞、＜Pleidooi＞。舞台劇有：＜Cloaca＞、＜The Prefab Four＞、＜Familie＞、＜De Formidabele Yankee＞、＜Wie Vermoordde Mary Rogers?＞
Dolf de Vries及Diana Dobbelman（飾 舒麥夫婦 Mr. & Mrs. Smaal）
Dolf de Vries和Diana Dobbelman飾演舒麥夫婦，他倆是獲得猶太人信任、付託以保管財物的一對可靠夫妻。
Dolf de Vries和Diana Dobbelman均與保羅華浩雲結緣多年。Diana Dobbelman早年參與過電視劇＜Floris＞。其後她的影蹤可見於電影＜Pastorale 1943＞、＜De Stilte rond Christine M.＞、＜De Mannetjesmaker＞；電視劇＜De Fabriek＞、＜Sanne＞、＜De Brug＞、De Zomer van '45＞、＜In Naam der koningin＞及＜Goede Tijden Slechte Tijden＞。
De Vries與保羅華浩雲合作得更多 - ＜土耳其狂歡＞、＜納粹軍旗下＞、＜第四個男人＞，還有葛拉索德曼的＜De Bunker＞。他的其他作品有：電影：＜Het Debuut＞及＜Vroeger is Dood＞；電視劇＜Dossier Verhulst＞及＜Onderweg naar Morgen＞。
Dolf de Vries本身是一位作家，出版了26本小說、短篇故事、兒童讀物，還撰寫專欄、新詩及旅遊書「In Een Rugzak」。
幕後人員
保羅華浩雲Paul Verhoeven（導演）
保羅華浩雲的銀幕處女作為1960年的＜Een Hagedis Teveel＞，隨電視劇＜Floris＞和電影＜在商言商＞（Wat Zien Ik?）（1971）後，他製作了由Monique van der Ven和Rutger Hauer主演的＜土耳其狂歡＞（Turks Fruit），並且一炮而紅。其後，他分別執導＜娼婦凱蒂＞（Keetje Tippel）（1975）、賣座電影＜納粹軍旗下＞（Soldier of Orange）（1977）、＜絕命飛輪＞（Spetters）（1980）、＜第四個男人＞（The Fourth Man）（1983）和＜冷血奇兵＞（Flesh & Blood）（1985）。
1999年，＜土耳其狂歡＞被封為「本世紀最佳荷蘭電影」，並於奧斯卡獲提名「最佳外語片」。保羅華浩雲其他國際知馳名的電影包括＜鐵甲威龍＞、＜宇宙威龍＞(Total Recall)及轟動一時的＜本能＞。其他作品有＜艷舞女郎＞（1995）、＜星河戰隊＞(Starship Troopers)（1997）、＜透明人魔＞（2000）。
葛拉索德曼Gerard Soeteman（故事原創／編劇）
葛拉索德曼與保羅華浩雲於1969年的電視劇＜Floris＞中結緣，其後繼續於電影＜在商言商＞、＜土耳其狂歡＞、＜娼婦凱蒂＞、＜納粹軍旗下＞、＜絕命飛輪＞、＜第四個男人＞、＜冷血奇兵＞中合作無間。現時他正替保羅華浩雲創作＜Batavia＞的劇本。
1992年，索德曼自編自導＜De Bunker＞，描述抗德游擊隊成員Gerrit Kleinveld的故事。他的其他劇本作品包括＜Max Havelaar＞、＜Mijn Vriend＞、＜The Assault＞和電視劇＜Recht voor z'n Raab＞。
訪問
導演保羅華浩雲
經過二十年的努力，終於在荷蘭拍成此戲，你的感受如何？
很高興我和葛拉索德曼花了二十年寫的劇本，終能拍成電影。多年來，我們的主題是一致的：一群猶太人於Biesbosch被出賣、殺死，主角則誓要找出那個背叛者。最初，我們想以男性為主角，但又想不出讓他滲入德國指令部的手段。三年前，葛拉解決了問題 - 改以女性為主角。於是所有情節片段，也就順勢發展為一個圓滿的故事了。
＜黑色名冊＞是套怎樣的戲？
＜黑色名冊＞是一齣基於真實歷史事件而創作的動作驚慄片，大部分角色都改編自真人。
那本「黑皮書」是真有其事嗎？
你指那本「小黑皮書」？它當然是真的！毫無疑問！坊間早有不少人寫過這小黑皮書。葛拉在Hans van Straten六十年代出版的小說《Moordenaarswerk》中第一次接觸到小黑皮書的故事，他即時覺得這故事可以寫成一個好劇本。小黑皮書其實是一位姓「De Boer」的男人的日記，他是海牙一位律師，戰後被人於Goudenregenstraat開槍殺死，兇手至今仍然未捕獲。大戰期間，De Boer在海牙充當德國司令軍與抗德游擊隊之間的調停人，希望避開不必要的屠殺 - 抗德隊不時部署刺殺行令，而德軍則於街上射殺人質以作報復。我六歲的時候，就曾被命令要踏過那些屍體。De Boer的黑皮書據聞寫滿叛徒和同謀的名字，但它早已不知所終。
如果＜納粹軍旗下＞是英雄故事，＜黑色名冊＞又是什麼戲種？
跟＜納粹軍旗下＞迥然不同，＜黑色名冊＞寫實地描繪了歷史事件，而這正是我想拍這齣戲的原因 - 我想以引人入勝的方式，如實地反映那個年代；那時候沒有黑白之分，只有深深淺淺的灰色地帶。2001年，Chris van der Heyden於他的書《Grijs Verleden》中對那段歷史作了新的批判。過去一般人都視荷蘭軍和抗德游擊隊為英雄，而德軍及支持德國的荷蘭人則是壞人，Van der Heyden卻以一個嶄新、現代而抽離的角度審視戰時的荷蘭人：每個人都不是英雄或壞蛋，因為做壞事的人可能看似英雄，反之亦然。Jan Campert就是一個很好的例子（Campert是一位抗德隊成員，也是戰時一首著名反德新詩的作者，他最近被指曾於Neuengamme集中營惡行纍纍，更有可能曾殺死自己的同僚）。他曾是被萬人崇拜的英雄人物，但現在他的傳奇事蹟已成疑問。
你也強調＜黑色名冊＞是一套富娛樂性的電影。
當然了，電影就是藝術和商業的巧妙結合，其最終的目標，是令這兩個看似對立的元素漂亮地融合起來。這就是一套電影能否留傳後世又同時取得商業成功的關鍵，也是我追求的東西 - 由大學教授至售貨員都懂得欣賞、流傳數十年的電影。這個境界，除了英國文藝史詩片名導大?連（David Lean）以外，已很少人能達到。
你自己的電影有達到這境界嗎？
＜土耳其狂歡＞、＜納粹軍旗下＞、＜第四個男人＞、＜絕命飛輪＞吧．．．不過＜在商言商＞和＜娼婦凱蒂＞大概不會流傳下去了。
你和葛拉索德曼為了這套戲讀了多少史料？
這四十年來大約看了700至800份文件吧。1967年，我正為電視紀錄片＜Portret van Anton Adriaan Mussert＞搜集資料，其中荷蘭納粹黨教士Van der Vaart Smit的報告「Kamptoestanden」中，描述了很多人們於集中營被虐待的情況，我把部分故事放進＜黑色名冊＞內，令這套戲更充實也更具震撼力。
此外，照片也是另一重要資料來源。集中營士兵、臨時軍隊、抗德隊的照片．．．其實戰後誰都自稱是抗德隊成員，不過無論孰真孰假，你都不會想落在他們手中 - 當你看過他們逮到荷蘭納粹黨員時的那副神情，你會知道什麼才是真正的恐懼。
「莉荷」和「朗妮」這兩個角色，是否依真人塑造？
莉荷揉合了數個人的特色，當中包括抗戰隊成員Esmee van Eeghen和Kitty ten Have，以及戲劇家Dora Paulsen等。朗妮是個全新創作出來的人物，但她可說是那個年代的典型女孩子，普通得滿街都是。而她的政治觀是很天真的。很多人都是牆頭草。荷蘭納粹黨「NSB」的不少成員都十分狂熱。我不是說所有在1941年加入的人都是投機者，但自1933已入黨又因而失業的人，的確因而變得更狂熱。
對比你們過往合作過的電影，今次＜黑色名冊＞的劇本可謂一就而成，原因是啥？
我和葛拉一向合作無間，我們來自相似的背景，他只比我年長兩年，我們同樣在孩提時代經驗過戰亂，我們都上過文法堂、都在荷蘭西部的萊頓（Leiden）大學讀書，也都服過役。然後我們在電視劇＜Floris＞中首次碰頭，並且一拍即合。當然語言也有關係，用荷蘭語創作，我的概念才能發揮得淋漓盡致。
除了劇本外，在荷蘭拍攝還有什麼令你喜歡的元素？
令我最高興的，是今次的班底 - Carice van Houten、Thom Hoffman、Halina Reijn、Peter Blok，他們全部都是才華洋溢的演員，當然少不了來自德國的Sebastian Koch、Christian Berkel、Waldemar Kobus。我在美國開戲時，一直無法起用如此頂尖級數的演員 - 我當然想跟妮歌潔曼或湯告魯斯合作，但苦無機會和本錢，除非劇本是為該演員度身訂造的．．．結果我在美國拍的戲，班底永遠不能固定。但在荷蘭，我卻能多次起用Rutger Hauer、Monique van der Ven、Renee Soutendijk，還有今次的Dolf de Vries和Derek de Lint。
你怎樣挑選主角？
Carice和Halina都是專業而演技細膩的演員，她倆很有天分、觸覺很敏銳，不但老練，而且充滿魅力和個人風格。比較內斂的Carice適合莉荷一角，而活潑主動的Halina自然被派朗妮這角色。她倆是個完美組合。選角經理Hans Kemna和Job Gosschalk精心篩選了超過三十位演員來試鏡，但Carice和Halina輕易地突圍而出。過了十五分鐘左右，我想起我曾親手把金牛獎(Golden Calf)頒予憑＜Minoes＞得獎的Carice。
Thom Hoffman呢？
我和Thom多年前於＜第四個男人＞合作過，但今次不是我的主意，而是由兩位選角經理決定的。我們一致贊成起用他，是因為他擁有Hans Akkermans這角色應有的壓迫感，但更重要的是他和Carice能產生化學作用。其實我心目中還有好幾位適合人選，但他們都未能造到Thom和Carice之間那種情欲上的張力。有一幕說到Thom和Carice在火車上和對方靠得很近很貼，他倆不費一言一語，便能讓你感受到那股張力。
你早期的荷蘭電影不是由Rob Houwer就是由Joop van den Ende出品，為什麼今次轉了San Fu Maltha？
最初的確是由Rob出品的，但因為合約上的分歧，結果Rob退出。不過這無損我倆的友誼，我們仍會見面吃飯。之後我把劇本寄給Joop，但他沒有回應。
而San Fu是葛拉和我的老朋友，他看了劇本後便決定參與。這對＜黑色名冊＞幫助很大，因為San Fu的人面很廣，成功為我們遊說到德國、英國和比利時的電影公司聯合出品這套戲，發行方面也洽談到不少國家的有利條件。
再次回到荷蘭拍戲，又有沒有不好的地方？
沒有，但就內容來說，＜黑色名冊＞是一個又豐富又複雜的故事，而荷蘭很少拍這種規模的戲，配合上難免偶有困難。
那為什麼不找來有經驗的美國人員？
我不想找外援，因為我希望荷蘭人能藉?今次機會，獲得更多經驗，為這齣戲賦予社會價值。當年尤里斯伊文思Joris Ivens（被譽為「四大紀錄片之父」之一的荷蘭導演、曾執導＜愚公移山＞等多齣電影，他與周恩來為好友）於中國拍片，他也起用了當地人為工作人員，「好讓他們也能有所得著。我只會在此逗留六個月，但他們能趁此增進一點知識。」我覺得他這種做法饒富意思，一直記在心中。現在我也有如此這般的機會，自然要一盡綿力。1995年，為慶祝「電影年」，當局發行了兩款特製郵票，一款是＜土耳其狂歡＞內的其中一幕，另一款是伊文思的肖像。我正跟?伊文思的足跡去走。我和葛拉曾就?伊文思吵得臉紅耳赤，我是伊文思的忠實擁躉，他則討厭伊文思的親共產和竄改實況的做法。但伊文思的確拍了多齣很棒的電影。
訪問CARICE VAN HOUTEN
你最喜歡保羅華浩雲的哪一套戲？
＜土耳其狂歡＞和＜本能＞。兩套戲都關於愛──雖然戲內所表達的愛有點扭曲，但那始終是愛。我也很喜歡＜星河戰隊＞，看?這套戲，你不難想像到巴烏爾微笑的樣子，他就是這樣有?過人的幽默感。
認識他之前，你認為他是個怎樣的人？
我的一位朋友是一個導演兼巴烏爾的忠實擁躉，他讓我看過好幾齣巴烏爾的紀錄片，嗯，那是＜土耳其狂歡＞和＜納粹軍旗下＞的製作特輯。我看得目瞪口呆，因為女演員們要廿四小時留在片場，不准吃東西，工作人員則在旁候命，一見有人快要餓暈就趕快餵她們一口「糊仔」- 嘩，我不禁想，真可怕！他對電影的狂熱的確滿分，但未免叫演員太難捱了吧！
這麼可怕，那妳為什麼還接拍此戲？
我就是希望接受這鍛煉。我希望能捱過他的考驗。而且我也很渴望能認識他，那時候我簡直急不及待想立即去試鏡。
第一次跟巴烏爾見面時，妳緊張嗎？
我很記得巴烏爾現身那一刻，立即哄動整間選角公司，你能聽到大家心裏在呼喊：他來了！他來了！我當時真的很緊張，腦裏不停地想：這位大名鼎鼎荷里活導演回來荷蘭，我不能讓他失望而回！不過，我一跟他握手，心情便變得輕鬆了不少 - 咦，他竟然是這樣和藹可親？！
開戲前有綵排過嗎？
我們在阿姆斯特丹北部有一間貨倉，大夥兒就在那裏練對白，研究哪些枝節可以刪掉。我喜歡這種互動而即興的拍攝手法。當然，我事先會搜集大量資料，好好地了解自己的角色。
妳的角色「莉荷」是怎樣的？
她堅定、正直，跟我一向演的角色很不同。為此，我需要努力收起自己百厭輕浮的一面。莉荷也有天真的一面，但大部分時間她都十分成熟，會為自己和所愛的男人抗爭。當蒙茲被拉進監牢時，她要求自己所屬的抗德游擊隊救他出來 - 他是德國人，但她竟然叫人去救他。這當中所需的勇氣何其大！莉荷就是這麼一個性格剛烈的角色，扮演她樂趣無窮。
莉荷失去摯愛，又要在仇視下掙扎求存，她是怎樣捱過這困境的？
她懂得放下悲傷。她說過：「現在我不能哭。」她不會沉溺於自己的情感內，她能夠把七情六欲都放在一旁，時刻保持深思熟慮和清醒，所以她是個間諜的天才。遇到危急的情況，她總能機智地作出適當的抉擇。
但她依然愛上了一名不該愛的人。
每個人都需要愛，也希望有人能分擔自己的悲傷。而莉荷遇上了蒙茲，一個同樣失去了很多很多的人。
妳知道莉荷結合了數位真人的特徵，對吧？
不錯，巴烏爾和葛拉給了我很多關於抗德隊的史料。讀?劇本時，有時候我會想：太過分了吧，這麼多慘事一下子都發生在莉荷身上！不過他們說這是史實。我也看過一些抗德活動中一些女性成員的事蹟，但也僅此而已。莉荷不是個百分之百的真實人物，我希望演繹時加以自己的發揮，這樣演戲才夠挑戰性。何況萬一我的做法不對，導演會提醒我，不勞我操心。
莉荷不是巴烏爾電影的典型角色，她不投機也不愛耍手段。
對，這是我們故意的。巴烏爾希望莉荷有神秘的一面，我也很慶幸他有這個想法，否則莉荷的感情戲會流於膚淺。但朗妮就是巴烏爾電影的典型女角，這也沒有什麼不好，畢竟整套戲需要有這麼一個輕鬆點的角色來平衡一下。
為了這個角色，妳好像要上很多「速成班」- 德語、希伯來語、唱歌、跳舞、游泳、駕車、切魚．．．你覺得有趣還是純粹為工作需要？
那視乎學的是什麼，我喜歡跳舞，我本身懂跳舞 - 我想，我大概不喜歡那些學起來很難的東西，也許是我天生懦弱和懶惰吧！學習新事物有時候會損害我的自信心。所以，今次的確考驗到我的集中力和膽量。我學到了一些新的東西，也克服了一些恐懼，不過我得說，我真的不大喜歡劈魚頭！
妳的德語講得很好。
我在Waalwijk一家語言學校上了一個星期速成班 - 但實情是，我一早懂講德語，感謝天我以前有一位十分嚴厲的德語老師。
拍攝＜黑色名冊＞有什麼新體驗？
今次的拍攝時間很從容，工作人員會花四十五分鐘來調教燈光！我還有替身呢，開鏡前就不用乾等，可以舒舒服服坐在車裏。這令我感到自己真的是個女演員。荷蘭電影一向實事求是，什麼都無分你我，一派眾志成城的模樣 - 但今次，＜黑色名冊＞教我體會到何謂專業。這就是巴烏爾和副導演Marc van de Bijl這兩位國際級人馬帶給我們的新體驗。＜黑色名冊＞的規模和複雜度，在荷蘭可謂前所未見。
最後，談談妳對導演的感想？
叫演員最高興的是，巴烏爾會給予我們很大空間，也充分信任我們的能力。說到底，這是我們的職業，我們所專長的事情。每次拍完一take，他不滿意才會開口，如果他不說話便代表你演得好。也許你得花點時間習慣他這種做法，因為演員的通病是自負又沒安全感，需要別人不斷的認同，但好處是這代表?互相信任。巴烏爾很懂得刺激和啟發演員，他經常精神奕奕，而且十分樂觀，令片場上上下下都和諧融洽。有時候我在早上的情緒會很壞，但他說個笑話就令我振奮起來。有一幕我要滿身是屎，這令我覺得很侮辱；拍完那一幕後，巴烏爾走過來安慰我。其實他無需這樣做，但他堅持和我一起站在那一大堆屎旁。他就是這樣好的導演。他毫無所懼，百分之百投入他的電影之中，給予演員滿分的支持和信心。他真的是一個可靠、聰明、剛強又敏銳的男人。要是我有孩子，我一定會叫他做褓姆。
ContentFilm International
Presents
A Fu Works production
In association with
Egoli Tossell Film, Clockwork Pictures, Studio Babelsberg AG,
Motion Investment Group, Motel Films and Hector
A VIP Medienfonds 4 production
BLACK BOOK
Directed by
Paul Verhoeven
Starring
Carice van Houten
Sebastian Koch
Thom Hoffman
Running Time: 145 minutes
PROJECT SUMMARY
Producers Fu Works presents, in collaboration with Egoli Tossell Film, Clockwork Pictures, Studio Babelsberg AG, Motion Investment Group, Motel Films, Hector and ContentFilm International a VIP Medienfonds 4 production, co-produced by AVRO.
Languages Dutch, English, German, Hebrew
Running Time 145 minutes
Genre Action / Thriller
Country of Origin Netherlands, Britain, Germany, Belgium
Plot Outline BLACK BOOK tells the story of a young Jewish woman who joins the Resistance in The Hague and gets entangled in a deadly web of double-dealing and betrayal.
Director Paul Verhoeven
Original Story Gerard Soeteman
Script Gerard Soeteman and Paul Verhoeven
Cast Carice van Houten, Sebastian Koch, Thom Hoffman, Halina Reijn, Waldemar
Kobus, Derek de Lint, Christian Berkel, Peter Blok, Michiel Huisman
SYNOPSIS
When the hiding place of the beautiful Jewish singer Rachel Stein is destroyed by a stray bomb, she decides with a group of other Jews to cross the Biesbosch to the already liberated south of the Netherlands. However, their boat is intercepted by a German patrol and all the refugees are massacred. Only Rachel survives.
She joins the resistance, and under the alias Ellis de Vries manages to get friendly with the German SD officer Muntze. He is very taken with her and offers her a job. Meanwhile, the resistance devise a plan to free a group of imprisoned resistance fighters with Ellis' help. The plan is betrayed and fails miserably. Both the Resistance and the Germans blame her. She goes into hiding once more, with Muntze in tow. Together they wait for the war to end.
Liberation does not bring Ellis freedom; not even when she manages to expose the real traitor. 'Every survivor is guilty in some way.'
BACKGROUND INFORMATION
BLACK BOOK is an action thriller, inspired by real life events. Gerard Soeteman and director Paul Verhoeven took twenty years to write the script for this film, which marks Verhoeven's return to the Netherlands. The lead actors in this European co-production, which is mostly Dutch spoken with some German, English and Hebrew, are Carice van Houten, Sebastian Koch, Thom Hoffman, Halina Reijn, Christian Berkel and Waldemar Kobus. Other parts are played by Michiel Huisman, Derek de Lint, Peter Blok, Dolf de Vries and Diana Dobbelman, among others.
BLACK BOOK was produced by San Fu Maltha for Fu Works, Jos van der Linden for Hector, Frans van Gestel and Jeroen Beker for Motel Films in the Netherlands, and by Teun Hilte for Clockwork Pictures (GB) and Jens Meurer for Egoli Tossell Films (GER). Studio Babelsberg (GER) and AVRO were co-producers.
Karl Walter Lindenlaub is director of photography, Wilbert van Dorp is production designer, Yan Tax is costume designer, Winnie Gallis and Dick Naastenpad were responsible for hair and make-up, Willem de Beukelaer was stunt coordinator, Erik van Wouden gaffer and Harry Wiessenhaan handled special effects. Casting directors were Hans Kemna, Job Gosschalk and Risa Kes (Germany). Editors were Job ter Burg and James Herbert, and Anne Dudley composed the music.
BLACK BOOK had a budget of over ��17 million. The European co-production received financial support from the Netherlands Fonds voor de Film, CoBO fonds, Medienboard Berlin - Brandenburg, FFA National Filmboard, Eurimages, and the city of The Hague.
The film was shot on various locations in The Hague, Giethoorn, the Biesbosch, in the Babelberg Studio in Berlin and in Israel.
A-Film Distribution releases BLACK BOOK in the Netherlands on 14 September 2006.
ABOUT THE CAST
Carice van Houten plays review star Rachel Steinn, who during the war goes into hiding and assumes the name Ellis de Vries. With a group of Jews she tries to escape to the already liberated south of the Netherlands. The plan fails and the entire group is killed and robbed. Only Rachel survives.
In 1999 and 2000 Van Houten won Golden Calfs for her parts in the TV-film Suzy Q and the feature film Minoes. The Calf for Minoes was presented to her by Paul Verhoeven. She also played in TV films and feature films like Storm in Mijn Hoofd, AmnesiA, Het Everzwijn, De Passievrucht, Lepel, Knetter and Ik Omhels Je met Duizend Armen. Van Houten graduated in 2000 from the Amsterdam School of Acting, Musical Theatre and Cabaret. She has also appeared in stage plays like Elektra, Hedda Gabler, Een Meeuw, Het Bewijs and the musicals Foxtrot and Ren Lenny Ren.
Thom Hoffman plays the part of Hans Akkermans, a doctor who proves to be a cool-headed resistance fighter and who takes care of Rachel/Ellis.
BLACK BOOK is Thom Hoffman's second collaboration with Paul Verhoeven after The Fourth Man in 1983. Hoffman, who is also a successful photographer, made his film debut in 1982 in Luger by Theo van Gogh. In 1992 he starred in Gerard Soeteman's De Bunker. He appeared in over fifty international feature films and TV productions, such as De Witte Waan, Zoeken naar Eileen, The Birdwatcher, Force Majeure, 45 ? Paralello, Dogville and the series Russen. Hoffman directed the documentaries De Domeinen Ditvoorst and Dennis Hopper: The Decisive Moments.
Halina Reijn plays the opportunistic Ronnie, who becomes a good friend of Rachel/Ellis. Ronnie works for the Germans to survive, but her heart is in the right place.
Halina Reijn is a versatile film and stage actress. In recent years she appeared in such films as: De Passievrucht, Polleke, Grimm, Moonlight, Villa des Roses, Zus & Zo, Iles Flottantes and Ik Omhels Je met Duizend Armen.
Reijn also played many stage parts with De Trust, De Theatercompagnie and Toneelgroep Amsterdam, of which she is still a member. Last year she published her first novel, Prinsesje Nooit Genoeg. Her website is: www.homepage.mac.com/halinareijn
Sebastian Koch plays Ludwig Muntze, head of the SD. His humanity and his innate decency keep this social democrat and keen stamp collector from lapsing into cruelty.
German Sebastian Koch is a busy film, TV and stage actor. He has recently appeared in such feature films as: Das Leben der Anderen, Das Fliegende Klassenzimmer, Amen and Gloomy Sunday - Ein Lied von Liebe und Tod.
Christian Berkel plays SS general Kautner, a dangerous bureaucrat who follows orders to the letter.
Since his debut in 1977 German actor Christian Berkel has played in over fifty feature films and TV films. He recently played in Der Untergang, Das Experiment and episodes of the TV series Tatort: Teufel im Leib and Bienzle und der Mann im Dunkeln.
Waldemar Kobus plays SD officer Franken, a blood-thirsty and ruthless hunter of Jews and their possessions.
He has appeared in such films as: (T)Raumschiff Surprise, Besser als Schule, Narren, Ober by Alex van Warmerdam and has also made many guest appearances in crime thrillers such as: Schimanski, Ein Fall fur Zwei and various episodes of the Tatort TV series.
Michiel Huisman plays Rob, the boy who takes Rachel in when her hiding place is bombed.
BLACK BOOK is Huisman's sixth film, after Costa!, Phileine Zegt Sorry, Floris and Johan. He also appeared in TV series such as: Goede Tijden Slechte Tijden, Spangen, Costa! and the TV films Suzy Q and Uitgesloten. In addition to his work as an actor Huisman is also lead singer and guitarist in the band Fontana.
Derek de Lint plays communist Gerben Kuipers, leader of a resistance group.
For Derek de Lint BLACK BOOK is his second film with Paul Verhoeven. In Soldier of Orange he played Alex, a Dutch Nazi party member who joins the SS. De Lint frequently appears not only in Dutch films, but also in many international productions. In the Netherlands he was cast in feature films such as: Kort Amerikaans, Van de Koele Meren des Doods (The Quiet Lakes), Bastille, De Aanslag (The Assault), Rituelen and Lang Leve de Koningin (Long Live the Queen) and in successful TV productions like Willem van Oranje, Herenstraat 10, Dossier Verhulst and Mevrouw de Minister. His work on international feature films includes: Three Men and a Baby, The Unbearable Lightness of Being, Deep Impact and the series China Beach and Poltergeist: The Legacy.
Peter Blok plays the part of Van Gein, a shameless and ruthless war profiteer.
In 2005 Peter Blok starred in Leef! the opening film of the Netherlands Film Festival. Film and stage actor Blok has appeared in such feature films as: Stille nacht, In Oranje, Cloaca, Madelief and De Jurk and on TV in Lieve Mensen, de Daltons, Oud Geld and Pleidooi. On stage he was in Cloaca, The Prefab Four, Familie, De Formidabele Yankee and Wie Vermoordde Mary Rogers?
Dolf de Vries and Diana Dobbelman play Mr. Smaal and his wife. Mr. Smaal is a decent and trustworthy notary, to whom Jews entrust their money and valuables.
Both De Vries and Dobbelman go back many years with Verhoeven. Diana Dobbelman played Floris' love Countess Ada in the TV series Floris. She later appeared in films Pastorale 1943, De Stilte rond Christine M. and De Mannetjesmaker and in popular TV series like De Fabriek, Sanne, De Brug, De Zomer van '45, In Naam der koningin and Goede Tijden Slechte Tijden.
De Vries appeared in earlier Verhoeven films such as: Turkish Delight, Soldier of Orange and The Fourth Man and in Gerard Soeteman's De Bunker. His resume also includes his work on feature films such as: Het Debuut and Vroeger is Dood, and TV productions like Dossier Verhulst and Onderweg naar Morgen. Dolf de Vries has published 26 novels, collections of short stories, children's books, columns, poems and in recent years travel books entitled 'In Een Rugzak.'
ABOUT THE PRODUCERS
Fu Works - San Fu Maltha
San Fu Maltha started his film career as marketing and publicity manager with Warner Bros and later with Columbia TriStar. At Meteor Films he was involved in distribution and film acquisitions and made his first steps into production. When Polygram took over Meteor Film, he became head of acquisitions for Polygram International, acquiring films such as: Twelve Monkeys and Trainspotting.
Back in the Netherlands he set up production company Fu Works and co-produced the films Naar de Klote! and Greenwich Mean Time (GMT). As general director of RCV, Maltha handled the release of Seven Years in Tibet and the acquisition and release of Scream 1 & 2, The English Patient, Leaving Las Vegas, Secrets and Lies, Good Will Hunting and La Vita e Bella.
After RCV, he co-produced Rent-a-Friend with his company Fu Works and was executive producer on The Delivery. In December 1999 Paul Ruven asked him to produce a new film by Johan Nijenhuis, the rest is history. Costa! marked the beginning of a new era in Dutch film making. A year later Maltha founded A-Film Distribution with Pim Hermeling, which released films like The Passion of the Christ, Lost in Translation, Magnolia, Der Untergang, The Pianist and The Lord of the Rings trilogy. In recent years Fu Works and Motel films jointly produced the successful films Phileine Zegt Sorry, In Oranje en Vet Hard. This year, Fu Work is producing Jiska Rickels' documentary film 4 Elements. www.fuworks.com
Hector - Jos van der Linden
Jos van der Linden was executive producer on Paul Verhoeven's Spetters and produced Gerard Soeteman's De Bunker. In recent years he produced De Hoogste Tijd, Hector and De Aanslag (The Assault), and Costa! jointly with Van de Ende, Nijenhuis and Maltha. He was executive producer on Vet Hard, production manager on Shouf Shouf Habibi and Girl with a Pearl Earring, executive producer on Costa! the TV series, and line producer on the American series Only Love. Earlier, Van der Linden produced the TV films Naarden Vesting and De Malle Tennispet, and the TV series Recht voor zijn Raab, Tijd van Leven, Blauw Blauw and Wilhelmina. In February of this year, the TV series Shouf Shouf first aired on television.
Motel Films - Jeroen Beker and Frans van Gestel
Motel Films produces films, documentary films and TV plays. Founded in 1995 by Jeroen Beker and Frans van Gestel this production company has a knack for finding upcoming talent. As such, Motel Films was the driving force behind the film series Route 2000 and No More Heroes that gave young directors the chance to make a feature film on contemporary issues. One of those films, De Poolse Bruid by Karim Traidia, was sold to over fifteen countries and won several national and international awards.
Motel Films also produced remarkable feature films like Jacky by Fow Pyng Hu and Brat Ljatifi, which was selected for the Un Certain Regard programme at the Cannes Film Festival, and the TV film Loverboy by Lodewijk Crijns, that drew half a million viewers. Jointly with Fu Works, Motel Films produced the family film In Oranje, the romantic comedy Phileine Zegt Sorry, which won four Golden Calves, and the action comedy Vet Hard. Motel Films also produced Fow Pyng Hu's second feature, the Paradise Girls trilogy and Langer Licht. www.motelfilms.nl
Egoli Tossell - Jens Meurer
Producer and director Jens Meurer's German production company Egoli Tossell emerged in early 2001 from a merger of Egoli Films and Tossell Pictures. In recent years Egoli Tossell has produced or co-produced feature films and documentaries like Michael Caton-Jones' Shooting Dogs, Ed Herzog's Almost Heaven, Antje Kruska and Judith Keil's Dancing with Myself, Alison Murray's Mouth to Mouth and Alexander Sokoerov's prize winning Russian Ark. www.egoli.de
Clockwork Pictures - Teun Hilte
Clockwork Pictures was founded in London in 1999 by producer Teun Hilte. After graduating from the National Film & Television School his sci-fi comedy Inferno was nominated for a BAFTA and a Students' Oscar. Hilte then gained experience with films like The Parole Officer and Jean-Marie Poire's Ma Femme s'appelle Maurice. After Vet Hard and In Oranje, BLACK BOOK is the third Dutch film that Clockwork has been involved in as producer.
VIP Medienfonds - Marcus Schofer
VIP is a German fund that makes use of favourable German tax rules to support national and international film industries. www.vip-muenchen.de
Studio Babelsberg - Henning Molfenter
Studio Babelsberg is a renowned film studio in Berlin that provides comprehensive production support to national and international film productions. www.studiobabelsberg.com
ABOUT THE CREW
Paul Verhoeven - director
Paul Verhoeven directed his first film Een Hagedis Teveel in 1960, followed by the TV series Floris and the box office hit Turks Fruit (Turkish Delight) starring Monique van der Ven and Rutger Hauer. His next exploits were Keetje Tippel, Soldier of Orange, Spetters and The Fourth Man. In 1999 Turkish Delight was honoured as the Best Dutch Film of the Century; it was also nominated for the Oscar for Best Foreign Film. Verhoeven's international breakthrough came with RoboCop, followed by the box office hits Total Recall and the trailblazing Basic Instinct. In 1997 he made Starship Troopers, an indictment of the establishment; Hollow Man is his most recent Hollywood film.
Gerard Soeteman - original story and screenplay
Gerard Soeteman as from 1969 wrote the scripts for Verhoeven's TV series Floris and his films Wat Zien Ik?, Turkish Delight, Keetje Tippel, Soldier of Orange, Spetters, The Fourth Man and Flesh & Blood. Soeteman continued to write scripts for him when Verhoeven went to America. Films about an attack on Mandela and on Robert van Gulik's character Judge Dee, however, never materialised. Currently, Soeteman is working for Verhoeven on the script for Batavia.
In 1992 Soeteman directed De Bunker from his own script about resistance fighter Gerrit Kleinveld. Soeteman also wrote the scripts for Max Havelaar, Mijn Vriend, The Assault, Floris and the TV series Recht voor z'n Raab.
Karl Walter Lindenlaub, asc, bvk - director of photography
Karl Walter Lindenlaub was director of photography on many American films including Guess Who, Maid in Manhattan, One Night at McCool's, The Haunting, The Jackal, Red Corner, Independence Day, Rob Roy, Stargate and Universal Soldier.
Erik van Wouden - gaffer
Erik van Wouden was gaffer on feature films like Deuce Bigalow: European Gigolo, Off Screen, Floris, Ocean's Twelve, Stille Nacht, Phileine Zegt Sorry, Van God Los, Kleine Teun, De Jurk, Lang Leve de Koningin and De Johnsons.
Wilbert van Dorp - production designer
Wilbert van Dorp was production designer or art director on Bye Bye Blackbird, The Emperor's Wife, Pietje Bell, 8? Women, Abeltje, The Pillow Book, 1000 Rosen and Theo en Thea en de Ontmaskering van het Tenenkaasimperium.
Yan Tax - costume designer
Yan Tax was costume designer on The Discovery of Heaven, Left Luggage, Le Huitieme Jour, Between the Devil and The Deep Blue Sea, De Flat, Daens, Eline Vere, Amsterdamned, De Schorpioen, Het Meisje met het Rode Haar and Spetters.
Winnie Gallis - hair and make-up
Winnie Gallis was hair and make-up artist on Deuce Bigalow: European Gigolo, Off Screen, Amazones, Stille Nacht, De Dominee, Grimm, De Tweeling, The Discovery of Heaven, Nynke, Total Loss, Kleine Teun and Left Luggage.
Dick Naastepad - hair and make-up
Dick Naastepad was hair and make-up artist on feature films like Ellis in Glamourland, Moonlight, Zus & Zo, Baby Blue, De Omweg, Lek, Gordel van Smaragd, Between the Devil and the Deep Blue Sea, Daens and Sur la Terre comme au Ciel.
Job ter Burg & James Herbert - film editors
Job ter Burg edited the films Suzy Q, Amnesia, De Grot, Loenatik - De Moevie, Van God Los, Liever Verliefd, Het Zuiden, Snowfever, Off Screen, Staatsgevaarlijk, Knetter, Het Schnitzelparadijs and De Uitverkorene. James Herbert edited the films Revolver, Road to Damascus and Devil's Harvest.
Anne Dudley - composer
Anne Dudley composed the soundtracks of Tristan & Isolde, Bright Young Things, A Man Apart, The Gathering, Pushing Tin, American History X, The Full Monty, Hollow Reed, When Saturday Comes, The Crying Game, Knight Moves and others.
Willem de Beukelaer - stunt coordinator
Willem de Beukelaer was stuntman and stunt coordinator for fifteen years on over a hundred films and TV series, among which recently Save Angel Hope, Deuce Bigalow: European Gigolo, Kameleon 2, Vet Hard!, Floris, Amazones, Stille Nacht, De Dominee, Snow Fever, Phileine Zegt Sorry, Van God Los, The Discovery of Heaven, Lek and Ocean's Twelve.
Harry Wiessenhaan - special effects
Harry Wiessenhaan did special effects on over a hundred Dutch and international feature films, among which recently European Gigolo, Kameleon 2, Vet Hard!, Floris, Amazones, Ocean's Twelve, De Dominee, George and the Dragon, Phileine Zegt Sorry, Van God Los and Loenatik - De Moevie.
Hans Kemna - casting director (Netherlands)
Casting director Hans Kemna was involved in the earlier Paul Verhoeven feature film Keetje Tippel. He was assistant director on Soldier of Orange and acted in Turkish Delight, Wat Zien Ik? and the TV series Floris. As casting director, Kemna recently worked on feature films like Olivetti 82, Wilde Mossels, Lek, Antonia and Gerard Soeteman's De Bunker.
Job Gosschalk - casting director (Netherlands)
Job Gosschalk of Kemna Casting has recently worked on feature films Johan, Sportman van de Eeuw, De Griezelbus, Leef!, Ik Omhels je met Duizend Armen and Joyride. In recent years he was casting director on European Gigolo, Zoop in Afrika, Manderlay, Off Screen, Vet Hard!, Lepel, 06/05, Floris, Amazones, Erik of het Klein Insectenboek, Snowfever, Paradise Girls, Ellis in Glamourland, Simon, Stille Nacht and Cool!
Risa Kes - casting director (Germany)
Risa Kes (1950-2004) cast the three German leads. She was casting director on many German and International feature films like The English Patient, The World is not Enough, Jenseits der Stille, Anne Frank: The Whole Story, Alles auf Zucker! and TV series like Tatort.
INTERVIEWS
PAUL VERHOEVEN Q & A
Paul Verhoeven: 'BLACK BOOK' is realistic and provocative.'
Paul Verhoeven (1938) made Floris, the most popular TV series ever in Holland. Wat Zien Ik?, Keetje TIppel, Soldier of Orange and Spetters drew millions to the box office, and Turkish Delight was honoured as the best Dutch film of the 20th Century. After The Fourth Man the acclaimed and controversial director went to Hollywood where he found new success with films like RoboCop, Total Recall, Basic Instinct and Starship Troopers. Twenty years on, Verhoeven returns to the Netherlands with the thriller BLACK BOOK. "No one has ever shown how in 1945 we treated our prisoners."
Were you happy to make a film in the Netherlands after twenty years?
Most of all, I was glad to have the opportunity to make a film from a script that Gerard Soeteman and I have worked on for twenty years. For a long time we couldn't get the story to work. The basic idea stayed the same: a group of Jews are betrayed and killed in the Biesbosch and the main character hunts down the traitor. Originally, it had a male lead. And that gave us a problem: we didn't know how to get him to credibly infiltrate the German command. Three years ago Gerard solved the puzzle: the lead should be a woman. Then all the scenes we envisaged suddenly fell into place.
How would you describe BLACK BOOK?
It's a thriller inspired by true events. All the story lines in BLACK BOOK have their basis in true events. Most characters are based on real people.
Did the 'black book' ever exist?
You mean the so-called 'little black book'? Absolutely. Plenty has been written about it. Gerard first came across it in the book Moordenaarswerk by Hans van Straten that was published in the 60s. Gerard immediately thought it was a good start for a script. The 'little black book' was the diary of a Mr. De Boer, a lawyer in The Hague who was shot in the Goudenregenstraat just after the war. The killers were never found. During the war, De Boer negotiated between the German army command in The Hague and the resistance to try and prevent unnecessary bloodshed. The resistance would assassinate people and the Germans would exact revenge by shooting hostages in the street. When I was six years old, I was made to walk past those bodies. De Boer's black book, which probably contained names of traitors and collaborators - all the way to the top - was never found.
If Soldier of Orange was a heroic story, how would you characterise BLACK BOOK?
As a correction to the heroic Soldier of Orange. BLACK BOOK is a more realistic depiction of history. That is the main reason why I wanted to make this film. I wanted to show in an absorbing way what reality was like then. Not black and white, but in shades of grey. The film follows on from the book Grijs Verleden by Chris van der Heyden from 2001, in which the writer reassesses the past. It used to be conventional wisdom that the Dutch and the resistance were heroes and the Germans and their Dutch sympathisers were villains. Van der Heyden takes a fresh look at the Netherlands during the war. A post-modern look with plenty of alternative interpretations. People were neither heroes of villains. They could be heroic while behaving like villains, and vice versa. Jan Campert's story is a good illustration of that (Campert, resistance fighter and author of one of the most famous anti-German poems of the war, was recently claimed to have behaved dishonourably in concentration camp Neuengamme, and possibly killed by fellow inmates). He had been placed on a pedestal, but now his legacy is in question.
You emphasise that BLACK BOOK is also entertainment.
Of course, films are a wonderful cross between art and business. The ultimate goal is to combine those opposites in some brilliant way. That's what makes for a film of lasting value and commercial success. That's what I always strive for: an entertaining film that appeals to a broad audience, from professor to shop assistant, that remains worthwhile for decades. Apart from David Lean few people have achieved that.
Which of your films have this lasting value?
The films that have proved themselves these last twenty years are Turkish Delight and Soldier of Orange. The Fourth Man and Spetters I also like, but I don't think Wat ZIen Ik? or Keetje Tippel will survive.
Why did you choose to make the heroic Soldier of Orange rather than a more realistic film like BLACK BOOK?
At the time, as I said, we didn't have a script for BLACK BOOK. Eric Hazelhoff Roelfsema's book had been very popular, and we got support from the royal family and the army, which helped to get the funding sorted out. Gerard read the book when we were working on Turkish Delight. The plan was to make it a TV series. Meanwhile we made Turkish Delight and Keetje Tippel. When we discussed new projects with Rob Houwer our first idea was to make a remake of De donkere kamer van Damocles. That would have been closer to BLACK BOOK than to Soldier of Orange. But Rob didn't like the idea, because it was a remake. He proposed to try and realise Soldier of Orange as a feature film. When we researched that, we came across some remarkable events in The Hague in the last years of the war. About SD officer Munt and Frank of the Sonderkommando. Those stories didn't fit with Soldier of Orange, but they've now been incorporated into BLACK BOOK.
How many documents did you and Soeteman read for the film?
Between 700 and 800 over a period of some forty years. In 1967 I was doing research for the TV documentary Portret van Anton Adriaan Mussert. Jacob Zwaan, then archivist at the RIOD (National War Documentation Centre), alerted me to the report Kamptoestanden by Dutch Nazi party member reverend Van der Vaart Smit, who was imprisoned after the war, which gives prisoners' accounts of abuse and mistreatment in those camps. We have weaved some of those stories into BLACK BOOK. This is what makes the film so provocative, because nobody has yet shown how we treated our prisoners in 1945. But that wasn't our only source of inspiration for the film. Picture archives were another. For instance pictures of the camp guards. Members of the provisional army and resistance people. After all, after the war everybody claimed to have been in the resistance. There were lots of dubious people there.
If you look at those pictures, you wouldn't have wanted to be at their mercy. They way they strut when they had arrested a Dutch Nazi, makes you fear the worst.
Are Rachel and Ronnie also inspired by real people?
In Rachel a number of people have been merged. Both resistance fighters like Esmee van Eeghen and Kitty ten Have, as well as an artist like Dora Paulsen. Gerard and I fused them into one character. Ronnie's character is fictional, but in those days there were a lot of girls like that. Who went wherever the wind blew them. Politically she's very naive. Many people were, on both sides. The NSB, the Dutch Nazi party, had lots of members who were fanatical Nazis. And I don't mean people who joined in 1941 for opportunistic reasons, but people who had been members since 1933 and who had lost their jobs as a result, but were even more zealous as a consequence.
How did you and Soeteman divide the work on the script?
Gerard sets out the structure and the general drift. He monitors story development and character development. He starts. He writes the first draft and the next drafts. I then add things and change things, scenes as well as characters. If my memory serves, I came up with Ronnie, as I did with Maja in Spetters. The scenes at the end in the prison camp are mostly mine. I have made a significant contribution to the script. For most films I made with Gerard, the script was mostly his so I didn't get a credit. But this time my contribution was such that Gerard and I both felt that we should share the writing credits.
As with your previous films, BLACK BOOK is very pacy. More so than the scripts Gerard has written for other people. Was that your influence?
I think it comes out of our collaboration. When Gerard works alone or with others, the dynamics are different. Gerard and I have always clicked. We are from a similar background, even though our characters are very different. Gerard is only two years older than me. We were both children in the war, we went to grammar school, studied at Leiden University, and both did our national service. And then we met on the TV series Floris. With such similar backgrounds it's easier to work together than when you are from different worlds. Our different characters in practice really gel. The collaboration with Gerard is the most creative of my life. In America I worked with Eric Neumeier on RoboCop and Starship Troopers, but working with Gerard is just the best because we have such a good balance as a team. Of course language is also an issue. In Dutch I am confident when I write dialogue, I know when it sounds right. When I write something in English, I first ask Stacy Lumbrezer, my co-producer to check it because usually the English is pretty poor, awkward or stiff. I don't feel secure writing in English. Perhaps that's why I've made so many genre films in America. I have writing credits on none of my films there. I can respond to American culture, I can add to it, I can criticize and be ironic. And I have. But I cannot really think in that culture. So I need a writer to give me a solid blueprint. And then I am enough of an architect to play with that and add minor scenes. On Dutch productions I understand the characters better. Especially after the political developments of recent years I have a hard time understanding Americans. Not so much the people in Hollywood, but mostly those of the Midwest. Eventually I will return to Holland. I haven't become such a fan of America that I want to spend the rest of my days there.
Apart from the script, were there other reasons why you were glad to be working in Holland again?
The best thing was to be able to work with the biggest acting talent, Carice van Houten, Thom Hoffman, Halina Reijn, Peter Blok and let's not forget the Germans, Sebastian Koch, Christian Berkel, Waldemar Kobus. These are actors of the highest quality. In America I had almost no access to that category. I would have loved to make a film with Nicole Kidman or Tom Cruise, but it's almost impossible. The only way is a special project that's tailored to the star. So in my American productions I have never been able to retain a fixed group of actors. The way in which in Holland I worked several times with Rutger Hauer, Monique van der Ven, Renee Soutendijk, and now again with Dolf de Vries and Derek de Lint.
How did you choose the leads?
Carice and Halina are both wonderfully talented and dedicated professionals. They are very gifted and have great intuition, which you need to really get under the skin of someone who lived 50 years ago. They're also very attractive, charismatic and have strong personalities. Because Carice is more introverted Rachel's part was better for her. Halina's extraverted-ness was better suited to Ronnie. She's a get up and go girl. And Carice and Halina are a great combination. We auditioned over thirty actresses for these parts, selected by casting directors Hans Kemna and Job Gosschalk, but they were head and shoulders above the others. After fifteen minutes I knew. And to think I presented a Golden Calf to Carice for Minoes.
And why Thom Hoffman?
I knew Thom from The Fourth Man. But I didn't specify I wanted to work with him. Like so many other actors he was proposed by Hans and Job. We chose him because there is a sense of danger about him that fits the part, but mostly because of the chemistry between him and Carice. There were other actors that I thought were right for the part, but none of them had the necessary sexual chemistry with Carice. Thom and Carice did a scene when they're very close to each other on the train, and you felt the tension immediately.
Your earlier films in Holland were produced by either Rob Houwer or Joop van den Ende. Why this time San Fu Maltha?
Initially Rob was to produce the film. But we had disagreements about contracts, not for the first time either, and Rob pulled out. Rob and I have had plenty of disagreements over the years, but it has never affected our friendship. We have dinner together now as the best of friends. I then sent the script to Joop, but he never responded. I came to San Fu through Jos van der Linden, an old friend that Gerard and I have always stayed in touch with. Jos was executive producer on for instance Spetters. San Fu felt right immediately. Because of his collaboration with Jos, because he's increasingly putting himself on the map as a producer, and because he's got this international air about him. He's got lots of contacts abroad, and that was important for this film. After all, BLACK BOOK is a big international production. And I my intuition didn't lie, because San Fu has made some excellent financial deals. By finding co-producers in Germany, Britain and Belgium, but also negotiating distribution deals in many countries.
Any disadvantages about working in Holland again?
Well, I wouldn't call it a disadvantage, but in a Dutch context BLACK BOOK is an enormously big and complex production. There is not much experience in Holland with that kind of scale of production, and that can be difficult.
You didn't consider hiring experienced Americans?
No, I wanted Dutch people to gain experience so the film would also have social value. When Joris Ivens made a film in China, he would get a local crew, "so they take something away from it too. I'm only here for six months, but they'll learn a thing or two while I'm here." I thought that was a nice gesture, and I've always remembered it. Now I have the chance, I wanted to do something similar. In 1995 two special stamps were issued to celebrate the Year of the Film: one featured a scene from Turks Fruit (Turkish Delight) the other a portrait of Joris Ivens. And now I'm following in his footsteps. Gerard and I have had a number of heated arguments about Ivens. Gerard hates him for his communist sympathies and his falsified images but I'm a big fan. Ivens has made some wonderful films.
Were there many old friends in the crew?
A few, like Hans Kemna and Jos van der Linden, but most of the people I used to work with are retired or dead. On BLACK BOOK I was in the same situation as with RoboCop. A fresh start with a largely new team. We had to find a new camera man anyway. Jan de Bont, who shot Turks Fruit (Turkish Delight), The Fourth Man, Flesh & Blood and Basic Instinct, is now a director. Jost Vacano, who did Spetters, Soldier of Orange, RoboCop and Total Recall had retired. As BLACK BOOK is a co-production with Germany and Britain, it could be a German or a Brit. I spoke to Karl Walter Lindenlaub, who did Independence Day and The Haunting, in Los Angeles. We clicked. He wanted to get away from the American film industry for a while and do something smaller. Britain has made a massive contribution to the film in Anne Dudley. She's composed the score for American History X, The Full Monty and The Crying Game.
CARICE VAN HOUTEN Q & A
Carice van Houten: 'As soon as I read the script, I knew: I want to do this.'
Carice van Houten, 29, won Golden Calves for her leads in Minoes (2000) and Suzy Q (1999). She has also performed in AmnesiA, De passievrucht, Lepel, Knetter and Ik omhels je met duizend armen. In 2002 Carice won a Colombina for her performance in the stage play Een Meeuw. Other major stage parts include Driekoningenavond, Ren Lenny Ren, Het bewijs, Hedda Gabler and the musical Foxtrot.
What are your favourite Paul Verhoeven films?
Turkish Delight and Basic Instinct, because they are about love. The relationships may be a bit twisted, but there is love even so. Another favourite is Starship Troopers. You can almost see Paul grinning behind his monitor. His unusual sense of humour shines through.
What did you think of him before you met him?
A friend of mine, a director and a big fan of Paul, had shown me a few documentaries about him, which were about the shooting of Turkish Delight and Soldier of Orange. Terrible stories. Actresses having to be on the set for 24 hours and being given almost nothing to eat. Crew members would stand by and give the women a spoonful of muesli if they were about to faint. I thought: that is hell. It's fantastic, but it's hell.
So why did you decide to do this film with him?
I just wanted to experience it. I wanted to be put through the wringer. And I wanted to meet him anyway. I was dead keen on the audition.
Were you nervous when you first met him?
When Paul arrived, the entire casting agency was shaking. You could almost feel it tremble. He's here! He's here! I was pretty nervous. I kept thinking: here's this big Hollywood director
coming to see what Holland's got in store. I can't disappoint him. But I felt at ease as soon as I shook his hand. I thought: what's all the fuss about this kind man?
Had you read the script before casting?
No, for the first casting I played a few scenes without knowing the whole story. I heard later that Paul was excited, and they gave me a copy of the script. I thought it was great. When I read it, I thought: I want to do this.
What appealed to you in the script?
The whole story did. There are so many nuances. And the development of the Rachel character.
So you read the script with the lead in mind?
That's what I'd auditioned for. I did play a couple of Ronnie's scenes, but I don't think they ever considered me for that part. It was just right for Halina, and she did a fantastic job.
How much did you rehearse before the shoot started?
We actually mostly talked. We sat around a table in a warehouse in the north of Amsterdam, rehearsed our lines, listened to hear if the dialogue was right and what could be cut. That's just how I like to work. I'm not much of a method actor, I like being spontaneous during shooting, but I collect as much information as I can about my character to try to understand her.
How would you describe Rachel?
Strong-willed and pretty straight. A true heroine, but of flesh and blood. Quite different from the characters I tend to play. I have had to suppress the joker in me, my earthiness, for this part. Rachel does have some naive, childish sides, but she can look after herself. She stands up for herself and for the man she loves. When Muntze is put in prison, she asks the resistance to help him escape. You help him, even though he is a German. That takes guts. Rachel is a strong character that made it great to play her.
Rachel loses people she loves and has to survive in a hostile, violent and anti-semitic environment. How does she manage that?
She is a girl who can shirk off a lot of grief. At some point she says: "I can't cry about that now." She flees from her emotions. She puts her feelings aside, she is thoughtful, stays on the outside. That makes her the perfect spy. Particularly because when things get tight, she intuitively makes the right moves.
But she falls in love, despite putting her feelings aside.
Of course, everybody wants love. And everybody wants to share their pain. In Muntze, Rachel finds someone who just like her has had to overcome great losses.
The Rachel character is based on several young women who were in the resistance during the war. Did you study those too?
In the talks with Paul and Gerard Soeteman I had already got lots of historical information. When I read the script I sometimes thought: this is just too much, all the things that happen to Rachel in such a short time. But Paul and Gerard explained that all those events are based on facts. I did do some reading about women in the resistance movement, but I stopped. Rachel isn't a real character that I must play. That allowed me to bring my own interpretations to the part. That is what is so challenging about acting. And if it is wrong, the director will tell me.
Rachel has not turned out a typical Verhoeven character, she's not an opportunistic and manipulative woman.
That was a conscious choice. The script left that open, but we went for the feeling, the drama and Rachel's development. Paul wanted her to have a mysterious side. I'm glad, because otherwise the love scenes would have been pretty flat. But in Ronnie there is a typical Verhoeven female in the film. That's fine, because you need that humour.
You've had to take lots of lessons for the film: German, Hebrew, singing, dancing, swimming, diving, cutting beetroot, filleting fish… Did you enjoy that, or was it just a tedious part of the job?
Depends what I have to learn. I loved the dancing lessons, because I was already a good dancer. I thought that I wouldn't enjoy things that I found difficult. And I can be very timid and lazy. Learning something new can be pretty nerve-wrecking. It's a real test of concentration and stamina, that's the real learning curve. I've cut new ground and overcome some of my fears, but I'm still not too keen on cutting fish heads off.
Your German in the film sounds very authentic.
I first did a one-week crash course at a language school in Waalwijk. But the shoot was delayed, so I came back to it later. Actually, my German was pretty good already. My German teacher in school was very strict. I'm thankful for that now.
How did the shoot for BLACK BOOK differ from your previous films?
It was good that things weren't rushed. Getting the light just right for a scene could take up to 45 minutes. And I also had the luxury of a stand-in, so I could stay in my trailer and prepare for the take. It gives you a sense of being taken seriously as an actress. The Dutch film business tends to be very matter-of-fact: we're all doing this film together and everybody should muck in. I've always gone along with that, but on BLACK BOOK I started to appreciate the value of being professional about every aspect of the film. And that is what Paul and assistant director Marc van de Bijl, who's worked on several international productions, bring to the film. And the sheer scale and complexity of this production was unparalleled in Holland.
Finally, how was Paul to work with as a director?
As an actor's director he gives you plenty of room. He feels that he's cast actors who know their art, and he relies on that during the shoot. After all, acting is what I do. After a take he'll only tell you when he's not happy. When he says nothing, apparently you did fine. You have to get used to that, because actors are vain and insecure and need constant reassurance. At the same time it was a great approach because it means there is mutual trust and confidence. Paul is a great motivator and very inspirational. He is full of energy and is always positive. That's how he creates such a good atmosphere on the set. I can be catty and moody in the morning, but he always cheered me up with a joke. The best example of that is the scene in which I was to be covered in a bucket of shit. I hated the idea and found it humiliating. When the scene was wrapped up, he came over right away. He didn't have to, but he insisted on standing in that pool of shit with me. That was just great. He has so much love and sympathy. He knows no fear and gives 100 per cent for his film and for his actors. Paul is a wonderfully strong, clever, headstrong and sensitive guy. When I have children, I'll ask him to baby-sit for me.
SAN FU MALTHA Q & A
San Fu Maltha: 'BLACK BOOK has exceeded all expectations.'
Producer San Fu Maltha's resume features successful films like Vet Hard, In Oranje, Phileine Zegt Sorry and Costa!. In 2006 he produced the documentary Vierluik by Jiska Rickels, the action film Jade Warrior by Antti-Jussi Annila and Verhoeven's thriller BLACK BOOK. "I read the script in one sitting."
How did you come to produce Paul Verhoeven's film?
At A-film I released De Bunker, a film by Gerard Soeteman produced by Jos van der Linden. I'd worked with him in recent years on Costa! and Vet Hard. Jos heard that Paul and Gerard were in Holland and suggested that I'd meet them. That was four years ago. I'm a great admirer of both Paul and Gerard, so I thought that would be very interesting. We had a good talk. The script for BLACK BOOK wasn't ready yet, but they promised to send it as soon as it was.
Why were you interested in BLACK BOOK?
First of all, as all Dutch film fans, I looked forward to Paul Verhoeven's return to Holland. Secondly, the script for BLACK BOOK was original and special. It's an important story, because it throws light on an unknown piece of Dutch WW II history. And my grandfather was in the resistance. And it is a gripping story, that appeals to a broad audience.
In Dutch terms it was also an ambitious and costly production.
From the beginning Jos and I were really excited. We gave our views on the film in a meeting with Paul and Gerard. It was clear that it would be a major undertaking, with for Dutch standards a massive budget. Due to the complexity, the scale and the way Paul made it, it came to over seventeen million Euros. You can't raise that kind of money in Holland alone, so it had to be an international co-production. Motel Films joined as the Dutch producer and then we started looking for German and British co-producers.
Because of the languages?
Because of the languages, the story and because those countries are attractive for co-productions. Belgium has favourable tax regulations, Germany has various funds. In Britain you have sale and lease back. The latter construction we've also used on In Oranje and Vet Hard.
What was your strategy for Holland?
We wanted to make use of the limited partnership scheme, because we thought BLACK BOOK was well suited to that. The problem was that the LP scheme was out of favour. There was only one party left that set up LPs, FINE, but the film didn't meet their criteria. BLACK BOOK is an international co-production, and the tax inspector doesn't like that. Also, the film's budget was too high for their standards. We couldn't get them to change their minds.
How much of the budget was raised in Holland?
About a quarter. That includes contributions from the Filmfonds, AVRO, CoBO, Eurimages and a distribution guarantee.
Four million Euros for a Dutch film is a significant contribution.
Yes, it is a lot. A normal budget for an entire film, according to FINE's criteria, is between 3.5 and 4.5 million Euro. But with BLACK BOOK we spent over half of the total budget in Holland. So I think we met all the criteria for a LP film. Also, this film will make money not only in Holland, but also abroad, so it was highly likely that the tax office would recoup the tax incentives we got.
And the other twelve million came from abroad?
About 15 per cent through the sale and lease back in Britain, and the rest from German and Belgium, and from the five pre-sales countries: France, Italy, Greece, Britain and Turkey.
There was a point at which funding seemed to be breaking down.
Yes, but then a second German partner, VIP, joined, and later the city of The Hague and a Dutch investor. With their contributions we were in business.
So then production could finally start.
We discussed who we would like to have on the crew and started talks. Of course, Paul hadn't worked in Holland for a long time, so in this phase he met a lot of new faces and watched a lot of Dutch films. For those people, working on a film of this scale and working with Paul as a director was a unique experience. BLACK BOOK allowed crew members to gain experience on a major production by a major director. Even so, we had some unexpected arguments about money, about people working to their standard and about job titles. But most people were eager to join in.
What were the responsibilities of the various producers and co-producers?
Germany and Britain were responsible for their part of the funding and the part of the production that took place there. Part of the shoot was in Germany, and post-production was done in Britain. In Holland, Hector, Motel Films and Fu Works were a well-oiled machine. We divided the work and worked closely together.
Why did you need so many producers?
Production is getting more and more complex. Certainly on big films it's almost impossible for one person to do it, except when you have a large team at your disposal. In Holland you don't get that because there's not enough films being made. The boon of having several producers is that everybody has their strengths and weaknesses. One may be good at raising funds or marketing, another at development or working with creatives. If you have different qualities on your team, it's more than the sum of its parts.
Did for instance Germany and Britain demand specific heads of department?
No, Germany wanted one head of department, and one of the options was the director of photography. They immediately gave us a list of candidates. The composer is British and one of the editors and the others heads are from Holland and Belgium.
Wasn't it hard having people from different countries who didn't know each other working on such a big production?
No, in Holland you also rarely work with fixed teams. People may be unavailable, so then you have to find someone else. On BLACK BOOK we had an especially strong, close and hardworking crew. The German camera man, Karl Walter Lindenlaub, is one of the best in the business and very experienced. I knew Wilbert van Dorp, the production designer, from The Emperor's Wife. He was also responsible for Abeltje and The Pillow Book. For the film to have a high production value you also need a good composer, whom we found in Anne Dudley of The Crying Game, The Full Monty and American History X. In costumes, Yan Tax is one of the best in Holland. He's up there with the best in the world. Other Dutch heads of department, like Willem de Beukelaer, Harry Wiessenhaan and Erik van Wouden have worked on American, British, German and French films. And let's not forget first assistant Marc van der Bijl, soundman Georges Bossaers and make-up artists Winnie Gallis and Dick Naastenpad. So we had a crew with plenty of international experience. The Dutch worked remarkably well with the foreigners. Dutch people are pretty flexible. On the other hand, Anglo-Saxons and Germans may be more disciplined that what we're used to.
To what extent did BLACK BOOK differ from your previous films in production terms?
BLACK BOOK is bigger and more complex, because there were far more people involved. Every extra pair of hands increased the level of complexity. Financially, too, it was a complex production. Dutch organisations aren't familiar with that, so that meant lots of extra discussions and organisation. Another major difference was that we had a director who is used to working in America. Holland has some advantages, but also some drawbacks. This isn't America.
What problems did you face during the shoot?
Lack of time was the worst. The script of BLACK BOOK has a lot of plot points and it's perfectly constructed. We couldn't take any scenes out without hurting the story. At the same time we were shooting on a very tight schedule. So even the smallest mishap could put us in trouble, and of course there's always this or that. A few days of bad weather, Thom Hoffman had an accident, Paul got ill one day. In other countries that may be relatively easy to solve, in Holland changing the schedule leads to problems, because actors have such busy schedules. When they have a day off, they're rehearsing, they're on stage or they're shooting a commercial. So we've had to be creative once or twice.
What was it like to work with Paul Verhoeven?
It was great and very instructive, but also pretty exhausting to work with such a consummate professional who knows what he wants, who is very intelligent and creative and who brings so much experience to the job. I hadn't worked with anyone as talented and strong-willed as Paul. He is dominant and intuitive. He won't let people mess with him. He's constantly pushing the envelope. Pushing people to get the best out of them. That made BLACK BOOK a constant battle, but a battle to improve the film, not to settle personal scores.
How do you like the finished product?
It's exceeded all my expectations. In every area: the story, the actors, picture and sound, production, action scenes. Paul created a masterpiece Soldier of Orange, which was set in the same era, but that was 25 years ago. With all the experience he has gained, he has now made an equally convincing, but far more subtle film in terms of the story. And don't forget that it's a lot harder now to recreate 1945 than it was 25 years ago. Of course that's not just Paul's achievement, but that of the entire cast and crew. Karl Water Lindenlaub and Erik van Wouden, responsible for camera and lighting, have made the film look fantastic. There was never any doubt about Carice, but she has proved herself once more with a terrific performance. In fact, Paul's got top performances from all the actors. I'm proud that Holland has proved that it is world class in any area. Production design, costumes, make-up, editing, what have you. BLACK BOOK is a world class film, a first-rate calling card for the Dutch, Belgian, British and German film industries.
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