Or you can!
Stop. Okay, thank you.
A film is a hyperscape.
A hyperscape is actually a dance film,
packed in an action film.
I think it's a dance.
Like Kung Fu, Marcellard also thinks it's a dance,
because it's a complete control of your body.
I think it's a dance,
because it's a dance,
because it's a dance,
because it's a dance,
because it's a dance,
because it's a dance,
because it's totally a dance.
I think the style we do,
with new disciplines,
with breakdancing,
free-running,
to forget about Kung Fu.
That doesn't really happen very often in The Netherlands.
I'm looking forward to
creating a step-by-step version of that.
I knowMarco for 10 years
because I do that before The Skate and The Pare.
I made a documentary about him,
That was always with skate.
And after that I was very happy to make films with his theater group.
And there they often did martial arts with sticks and tricks.
And I thought, oh my God, that's also very nice for an action film.
I would rather make an action film instead of a documentary.
At the moment that you show what the introduction is of a movement,
or what the control is, then I think it's actually art.
And then it's also done by art, the way things are shot,
or explained, because it can be done in a very simple way.
I think it's a personal thing for everyone,
whether it's art or art.
It's art.
Marco is someone who always looks for freedom,
both in his movement and in his creativity.
So I thought, after playing this role in prison,
that symbolizes his search for freedom.
So you have in that whole genre of martial arts and action,
of course, you watch a lot of action films with a lot of blood and bones,
and you have the creativity and skill of a Zanginbo film.
And then we tried to find a combination.
I have been influenced by a lot of films.
It's about Bruce Lee films, the pioneer in Kung Fu,
who brought it to Europe.
But also Quinta Tarantino films,
but it can also be very ordinary fighting films.
It's all things that I think about,
and if it's something different, I think it's very interesting.
We just do one lens, this is just about three parts,
and then it's done. Two parts.
This is actually a fiction movie,
because I made three documentaries before.
The biggest mistake, of course, is that you're going to film the day
with a very large group of people,
with 40 men per day on such a day with three documentaries,
and you can adjust much easier things,
which you can do at the same time with fiction.
You have to put it all on paper,
and then it turns out that you have to move a lot more things,
you have a lot more people.
So it's a very different job.
I know that Wilco had a lot of trouble with that,
and he also had a good time with me in front of him.
He said, it's a big crew,
and he's been around for 30 months,
and I don't know how to control that at all,
because he's always in his own office,
and editing with pictures.
I think I have a bit more experience with that,
because I've made a big theater group and a big role model.
I had to say to him,
Wilco, keep on with the film,
look at the screen and do your thing.
And it's not negative,
it's just that I have a bit more experience with that,
to put it all together.
I thought, which one would you rather show?
I thought you had the two sticks here,
and then you went, or not?
You can choose.
It's really a film of us two,
I do want him to like all the shots,
and everything else.
He's a kind of co-register for me in this film.
The last thing is, of course,
that I also play with him in this film.
Wilco Laupers said that I have the main role in that role.
I had a question mark,
because I had something,
I don't know if I still want to do that,
and I'm a bit ready to move.
He's used to it all the time,
to walk around in front and behind the camera,
and when the camera turns,
he jumps in his own role without any problems.
The moment that I didn't get into the film,
I was sure I would have liked it,
and I certainly had my ideas about it.
And for the other times,
I could just trust him.
I don't think it's necessary.
I think it's very intimate.
I mean, it's an intimate fight.
It's almost like a duet,
instead of a duel,
so I think it's very nice,
and I think you should be more on the move,
because that's different, it's better.
What are you standing in front of,
to let it go?
No, they have to go in there,
but a lot of minimalism,
that's actually what I mean.
I enjoy a bit of crumbly support.
The moment you do that,
and you can create it with it,
but a lot smaller,
that's what I'm trying to do every time.
I think that the audio is very important.
It might be as important as the image,
to make certain hits,
and falls, and moves,
to make it believable,
or to strengthen it.
Someone who jumps,
and jumps, and falls,
and falls, and falls,
is better to see,
so we hope that it works that way,
that you can see other moves,
but they go too fast,
that they go too far.
Thanks to the sound, and thanks to the delay.
I noticed myself,
that it's very nice,
that we call on us to do the same.
So we don't say,
we have directors,
we want to tell this story,
but make a move,
so it's important.
We're going to put together this dream of boys,
we haven't had boys for a long time,
but it feels like a dream of boys,
to realize this.
I have to think more visually,
than make a theatre proposal.
The theatre proposal is actually 2D,
because you look from the front,
and it happens in front of your nose.
With film, you can decide
the position,
and go around, and in the middle.
And I think it's only fun,
because I think that my strongest strength,
is that I'm very visually involved.
For me, it's a revelation.
How does it feel?
It's nice, you can see it.
Her head started to go backwards.
Shit.
What I like,
is that she touches me,
and she touches me.
I want to tell that,
in motion, in dance, in film,
it doesn't make any difference,
if it's more creative.
How does it feel to do the theatre proposal,
while you're dancing?
Why don't you try it?
