Wat een drama (2014): Season 1, Episode 1 - Floris: Part 1 - full transcript
WHAT A DRAMA
This says Floris.
F-L-O-R-I-S.
I...
-Floris.
Floris, the TV series,
was shot in 1968.
So that's about 45 years ago.
THE STOLEN CASTLE
There are three castles
in the movie.
Doornenburg Castle, Loevestein Castle
and a smaller Hernen Castle.
But they were shot later.
Two thirds of the episodes were shot
here, at Doornenburg Castle.
These are the walls of Doornenburg Castle,
where the soldiers were standing.
And there's the door. Look, there
are soldiers in front of the door!
Gate!
Hey, Paul.
-Hey, Gerard.
As it happens, Gerard Soeteman,
writer of the series, is here too.
Welcome to our past.
-Yes, great fun.
Oldestein!
Thank you, gentlemen.
-Gentlemen.
Keep going.
SINDALA!
Everything's still exactly
the same.
Nothing has changed in 50 years.
The soldiers would have been there
when Van Rossem attacked.
Hans Culeman. The soldiers
would stand on that bit.
Fire!
The series was about a young
knight.
After travelling the world,
he returns to his motherland.
He wants to move into the castle
of his ancestors.
And then he becomes aware
that he's ended up in a war...
that the castle has been
stolen from him...
and that everybody wants to kill
everybody, including him.
I'm looking at that castle.
-That's the tollhouse.
That's the tollhouse?
-You didn't know that, did you?
Come, hurry.
The inspiration came while we were
working.
Because it was so much fun with
those people. It was a great crew.
This was the nicest production I was ever
involved in. For nine months.
We were all in a monastery,
basically.
The hotel in Alverna couldn't handle
all those guests, so the monks took over.
In the evening we were all
having dinner together.
There were no cliques.
It was all very friendly.
The working day for a film crew
starts at 7 in the morning.
It ends at an uncertain hour,
but always late...
...with a simple yet nutritious
meal.
The crew and cast were an interesting
sample of the population.
I've never seen that again,
that people got along like that.
There's always much more of
a separation between crew and cast.
This was quite special.
That's why it's the most pleasant
production I've ever worked on.
Loevestein, Hernen and Doornenburg
Castle...
were the only truly medieval elements
in Floris.
This tent is entirely contemporary.
Although all the props are from
yesterday.
Old stories require strange objects.
A skeleton, a crossbow, a mandolin,
a reproduction...
Do we have those?
And 35 stone mugs.
One part of the tent turns into a
barbershop with make-up and wigs.
Character or beauty can come
from a bottle...
...and can't be distinguished
from the real thing.
A bit more to the left.
When many extras are involved, the
make-up artists have their hands full.
They also help during the takes.
Do you know what boots to wear, Rutger?
-Yes.
You don't realise the impact
it has when it's broadcast.
It was always shown
on Sundays, at 6 pm.
Sometimes I'd look outside.
I lived in a small apartment
in Rotterdam.
I'd look outside and I'd see young boys
with sticks and capes play-fighting.
That was so much fun. It made
such an impression. And still.
I'd written a tournament of 20 knights
on horseback.
Against 20 other knights
on horseback.
But that's 40 horses.
Imagine 40 horses going after each
other here.
So we just left the horses out.
Sometimes you have to make concessions.
They fought each other on foot.
Those knights were Hammy
De Beukelaer's stunt men.
They were all bouncers in the
city centre. That was funny.
They were all 25 to 30, but
they had to be knights...
so we gave them all beards that
we had coloured grey and white.
I still think it looks wrong in
the footage.
Knights of the night and Floris'
knights.
They had a double function.
They were very good at that.
Richard, do you know where
the helmet is?
All these costumes were getting
dirty.
So the 50 helmets, 150 pairs of boots
and 15 harnesses...
...needed cleaning and polishing.
Guys, where's my outfit?
The funny thing about Paul was that
he knew exactly what he wanted.
But explaining that to an actor
is another matter.
How do you want it?
So we still tease him a lot with that.
We'd always let him
show us a few times.
But in the end, we knew
exactly what he meant.
And he would get it.
So you say "Men, our magician!"
And then, when he steps forward...
...then you walk slowly...
I guess you can't go too slowly.
Like this.
Men, our magician!
And then you have to...
Let's try it.
My theory about acting...
and people have hated me for it, is that
an actor just has to walk from A to C.
But at B he has to look to the side
for a moment. Then it's acting.
We're lucky that there's one thing
that's not acting.
That's the castle. That just
stands there doing its best.
This area was used...
basically all the areas,
all the steps, and so on.
It was all used for the movie.
Because it was all real.
You didn't have to do anything.
The steps were real.
It's interesting that we were able to
shoot so much from the script here.
We also had no money to do
much else.
The budget was half a million.
And I think we made it for
1,5 million.
That's 200% more. And...
That was quite offensive to
the entire public channel.
If I'm correct.
Coffee!
And who are having that coffee?
The director and his assistant...
the actors, a camera man with assistant,
two lighting technicians...
two sound technicians, two script girls,
two dressing assistants...
two make-up artists, production
assistants...
extras and drivers.
Everybody but the horses.
The catholic channel were against it.
They didn't want the competition.
The progressive channel were against it
because of the violence.
They thought this would lead to
the decline of the younger generations.
And they were right. Look at Mark Rutte,
the prime minister.
He watched it and look at him now.
-Yes, absolutely.
Kill him!
One of the episodes partly
happens here.
At this passage.
Sindala's up here.
And according to Gerard's script,
he makes a bazooka.
I had forgotten all about it.
Where does one get these ideas?
When I read it, I thought:
"How can Gerard come up with this?"
Now I have to make a bazooka in
10 seconds.
Otherwise it becomes very boring.
So I thought I'd show a bit of this
and a bit of that.
And then you see it, it's finished
and boom!
The set looks like chaos.
While the camera man spotlights
the scene...
the director's working on consistency
between scenes and giving instructions.
Call the guards.
Right hand. Ok. Light on this!
A bit lower.
Well... innovative... Yes, because we
held the camera in our hand a lot.
There was no Steadicam yet.
I had to do everything from my shoulder.
I was known to be rather
steady, so...
And Paul knew that. That's why.
But we're following him.
So the sound has to be as loud as you
heard him there.
I had never really thought
about that.
But I started to agree more and more
with what Ton wanted.
Which is to be right there with
the camera.
The way you do now. Go after it and
shoot everything handheld.
Ton taught me all that.
Do you need anything?
A look behind the scenes
kills the illusion.
What looked so real, has been
created using a car...
...a camera and ten people pushing.
Go, 1, 2, go!
So you get into a rhythm.
Go, 1, 2, go!
Yes.
Yes, don't make it take too long.
Go, 1, 2, go!
Ok.
When I show them something, Carice
van Houten always says: "Do that again".
But the first one
who ever said that...
maybe it was passed on from one
actress to the next, was Ida Bons.
Whenever I'd show them how to do
something, "like this and this"...
she'd say" I don't get it
at all, Paul.
Can I stand at the camera and see
how it goes?
It was Paul's debut.
And he was... well...
very young, inexperienced,
enthusiastic.
Like a young dog.
He got us all motivated.
With his enthusiasm.
"You should do it like this and
like this."
And then he'd show us the whole
thing.
And then we'd sometimes be like:
"Uhm, Paul, how do I do this?"
Then he'd say: "Well, like this!"
I remember the first day.
"Yes, that's good..."
I hadn't yet learnt how to deal
with actors.
I also thought they were dangerous.
Dangerous women, dangerous men.
And then we'd laugh at him
and he'd get all shy.
Yes, he'd be all shy.
Yes, I slowly learnt all that,
during the making of Floris.
Floris is my school in movie making.
Action!
Oh, darling!
It's been a while.
-Yes, a very long time.
Hello, hello, hello.
Countess Ada Van Couwenberg.
Didn't we enter on horseback?
For the tournament.
Yes.
-Yes, it was there.
Yes, you were the servants.
-Side saddling, with the dress here.
Lord Japik Van Hogenthout.
Countess Ada Van Couwenberg.
Lord Jan Van Pannerden.
Countess.
Allow me.
Thank you.
Excuse me.
Hello Floris.
-Countess.
One moment.
Then a horse started to poo.
And Hammy De Beukelaer, head of
the stunt team...
walked up to it, caught it with
his hands...
came up to me and said:
"Paul, pure nature".
He's still just as crazy!
I'll never forget it. I was speechless
that someone would do that.
Hammy was a bit of a rowdy
character.
Another education and upbringing
than me, of course.
To me, that was something you didn't
talk about.
"Pure nature." I'll never forget it.
We also had that big dinner here.
In the basement, remember?
What was that for?
There was a dinner after the tournament.
-Ah yes, yes.
In that huge room with...
-Yes, the round room.
Let us sneak in
Let him quietly go inside
We shot a big scene here as well.
Where they were all eating
at the table.
They were sitting at that table,
which was here.
About twelve men were at the table.
And something had been put
in the soup.
Is there meat in the soup?
-Certainly, sir.
Give me nuts.
Yes, he was a vegetarian.
-Sindala and Rutger solve that later.
Oh, I don't remember that.
-Yes, we were just downstairs.
Yes, you were there.
Jacco played a tune for you.
Those two are so nice.
So playful and cheerful.
Really nice.
And casual and... it worked
really well.
Sound? Rolling. Camera? Rolling.
552/5, second time.
Action!
And I'd see someone up there,
with the boom pointing downward.
I thought: "Who's that?"
That was the first time, weeks after
we started. that I realised...
that there was someone called
Ad Roest.
Sound. Rolling. Camera. Time, 2-3,
second time.
It's unbelievable how Paul influenced
our lives and careers.
Because he...
He allowed us to grow with him.
As if you should take this.
Guys, be as quiet as possible,
please.
Yes, alright, the soldiers are
walking to the side.
Hey Ton.
-Hi Paul. Hello, buddy.
So nice to meet you.
And Ad. Everything alright, Ad?
-Yes, fine.
Right.
Very good.
-So nice.
It's really...
Have you ever been back here?
-I drove past once.
Because I...
-Out of nostalgia.
It's been a while, hasn't it?
-Yes, a couple of years now.
Well... a couple...
Ten, fifteen, I believe.
You look after Roland.
-No.
No?
-We're going with you.
You?
Yes, we.
The ladies want to work their way
into a castle.
Go do some embroidery.
-You think women can't do anything.
You're quite wrong then.
Goodbye.
Look after Roland.
How about that?
Pff!
What was nice is that he was very much
open to spontaneous ideas.
When something happened on the set,
he'd immediately say: "Yes, we'll do that".
That was a lot of fun.
That made the collaboration very...
mutual.
It's about using the things
that happen to be there.
Right...
Look...
You should look at the ground here.
There's this. It was already there.
We didn't make it.
It's an escape tunnel.
Those are handy things.
This is fun to use.
That happens more than you'd think
in movies.
What did you find out?
-The Copper Dog is coming.
The Copper Dog?
-It will be here in two days.
What was good about Paul
was that...
That he didn't think "We have to
make this fun".
No. The series is already fun.
Let's act normal.
We've kept it sort of realistic.
Apart from making a rope go up
in the air using magical powers...
it all stayed within the realm
of realism.
Careful!
Are you hurt?
I'm very sorry.
Normally, nobody comes here.
Who stopped you?
-I don't know. This big guy.
He was bellowing like a bull.
-Does he have a black beard?
Yes, down to here.
That's Big Pier!
-We'll have to hurry then.
That was very scary.
They put me on that horse
and then it went at a gallop.
I remember yelling: "Run! Run!"
On that horse.
I screamed with fear.
It was a good thing that Ad wasn't
there then.
The atmosphere was really nice.
Especially for this episode, with Ida
and Diana.
That was a very cheerful episode.
A star who makes a movie,
obviously has a stand-in.
In this case, a sound engineer
is the guinea pig.
Is that my lighter?
We laughed a lot when something
unexpected would happen.
Then we'd start laughing and we'd have
to do it again.
Or we did a good job and Ad would say:
"No, I had no sound".
You can lower him. Thank you.
Hold on.
Ok, that's it.
He was very inventive.
A very capable guy. Noticeably so.
You notice when someone comes up with
things and improves how you're thinking.
Viola, if you need a confessor...
Viola, if you need a confessor...
Just give me a call.
When you marry Floris,
I'll be at your wedding.
He hasn't asked me yet.
-He's a push-over.
Goodbye, Viola.
You're a good girl.
I've communicated with you
at a deep spiritual level.
I didn't know it's called that,
Your Reverend.
Viola, if you ever need a confessor...
Reverend, I need one three
times a day.
Ho!
Jaap.
-Paul.
How are you?
-You haven't changed a bit.
No? But neither have you.
Well uhm... You look great.
-Thank you.
It's very nice to see you.
Thank you.
And also to reminisce about
the Floris days.
You probably shot the scene here.
-No.
Was it at Loevestein Castle?
-Yes.
We shot so much here.
-It was very cold.
Captain Van Rossem for the
Duke of Guelders.
Floris van Rosemondt is back.
Van Rosemondt?
These are his papers.
One of you broke one of those
things in two.
A pawn or a queen, in reply to the
question "What shall we do with Floris?"
You or Hans Culeman went... snap!
and threw the bits on the board.
I thought that...
What shall we do with them?
Alright.
I was... 45?
Yes 45, I think.
Culeman was younger, maybe 35.
Look where we are now.
-Yes.
Next time...
No, I didn't fancy Rutger.
No. He wasn't my type.
He looked good, of course.
He approached and he went bam!
I thought 70, but he worked on
170 programs.
Here's a scene where Rutger jumps
into the moat.
The nice thing about that scene was that
there was a little conspiracy going on.
WHAT A DRAMA
I yell. I whisper. I listen.
This says Floris.
F-L-O-R-I-S.
I...
-Floris.
Floris, the TV series,
was shot in 1968.
So that's about 45 years ago.
THE STOLEN CASTLE
There are three castles
in the movie.
Doornenburg Castle, Loevestein Castle
and a smaller Hernen Castle.
But they were shot later.
Two thirds of the episodes were shot
here, at Doornenburg Castle.
These are the walls of Doornenburg Castle,
where the soldiers were standing.
And there's the door. Look, there
are soldiers in front of the door!
Gate!
Hey, Paul.
-Hey, Gerard.
As it happens, Gerard Soeteman,
writer of the series, is here too.
Welcome to our past.
-Yes, great fun.
Oldestein!
Thank you, gentlemen.
-Gentlemen.
Keep going.
SINDALA!
Everything's still exactly
the same.
Nothing has changed in 50 years.
The soldiers would have been there
when Van Rossem attacked.
Hans Culeman. The soldiers
would stand on that bit.
Fire!
The series was about a young
knight.
After travelling the world,
he returns to his motherland.
He wants to move into the castle
of his ancestors.
And then he becomes aware
that he's ended up in a war...
that the castle has been
stolen from him...
and that everybody wants to kill
everybody, including him.
I'm looking at that castle.
-That's the tollhouse.
That's the tollhouse?
-You didn't know that, did you?
Come, hurry.
The inspiration came while we were
working.
Because it was so much fun with
those people. It was a great crew.
This was the nicest production I was ever
involved in. For nine months.
We were all in a monastery,
basically.
The hotel in Alverna couldn't handle
all those guests, so the monks took over.
In the evening we were all
having dinner together.
There were no cliques.
It was all very friendly.
The working day for a film crew
starts at 7 in the morning.
It ends at an uncertain hour,
but always late...
...with a simple yet nutritious
meal.
The crew and cast were an interesting
sample of the population.
I've never seen that again,
that people got along like that.
There's always much more of
a separation between crew and cast.
This was quite special.
That's why it's the most pleasant
production I've ever worked on.
Loevestein, Hernen and Doornenburg
Castle...
were the only truly medieval elements
in Floris.
This tent is entirely contemporary.
Although all the props are from
yesterday.
Old stories require strange objects.
A skeleton, a crossbow, a mandolin,
a reproduction...
Do we have those?
And 35 stone mugs.
One part of the tent turns into a
barbershop with make-up and wigs.
Character or beauty can come
from a bottle...
...and can't be distinguished
from the real thing.
A bit more to the left.
When many extras are involved, the
make-up artists have their hands full.
They also help during the takes.
Do you know what boots to wear, Rutger?
-Yes.
You don't realise the impact
it has when it's broadcast.
It was always shown
on Sundays, at 6 pm.
Sometimes I'd look outside.
I lived in a small apartment
in Rotterdam.
I'd look outside and I'd see young boys
with sticks and capes play-fighting.
That was so much fun. It made
such an impression. And still.
I'd written a tournament of 20 knights
on horseback.
Against 20 other knights
on horseback.
But that's 40 horses.
Imagine 40 horses going after each
other here.
So we just left the horses out.
Sometimes you have to make concessions.
They fought each other on foot.
Those knights were Hammy
De Beukelaer's stunt men.
They were all bouncers in the
city centre. That was funny.
They were all 25 to 30, but
they had to be knights...
so we gave them all beards that
we had coloured grey and white.
I still think it looks wrong in
the footage.
Knights of the night and Floris'
knights.
They had a double function.
They were very good at that.
Richard, do you know where
the helmet is?
All these costumes were getting
dirty.
So the 50 helmets, 150 pairs of boots
and 15 harnesses...
...needed cleaning and polishing.
Guys, where's my outfit?
The funny thing about Paul was that
he knew exactly what he wanted.
But explaining that to an actor
is another matter.
How do you want it?
So we still tease him a lot with that.
We'd always let him
show us a few times.
But in the end, we knew
exactly what he meant.
And he would get it.
So you say "Men, our magician!"
And then, when he steps forward...
...then you walk slowly...
I guess you can't go too slowly.
Like this.
Men, our magician!
And then you have to...
Let's try it.
My theory about acting...
and people have hated me for it, is that
an actor just has to walk from A to C.
But at B he has to look to the side
for a moment. Then it's acting.
We're lucky that there's one thing
that's not acting.
That's the castle. That just
stands there doing its best.
This area was used...
basically all the areas,
all the steps, and so on.
It was all used for the movie.
Because it was all real.
You didn't have to do anything.
The steps were real.
It's interesting that we were able to
shoot so much from the script here.
We also had no money to do
much else.
The budget was half a million.
And I think we made it for
1,5 million.
That's 200% more. And...
That was quite offensive to
the entire public channel.
If I'm correct.
Coffee!
And who are having that coffee?
The director and his assistant...
the actors, a camera man with assistant,
two lighting technicians...
two sound technicians, two script girls,
two dressing assistants...
two make-up artists, production
assistants...
extras and drivers.
Everybody but the horses.
The catholic channel were against it.
They didn't want the competition.
The progressive channel were against it
because of the violence.
They thought this would lead to
the decline of the younger generations.
And they were right. Look at Mark Rutte,
the prime minister.
He watched it and look at him now.
-Yes, absolutely.
Kill him!
One of the episodes partly
happens here.
At this passage.
Sindala's up here.
And according to Gerard's script,
he makes a bazooka.
I had forgotten all about it.
Where does one get these ideas?
When I read it, I thought:
"How can Gerard come up with this?"
Now I have to make a bazooka in
10 seconds.
Otherwise it becomes very boring.
So I thought I'd show a bit of this
and a bit of that.
And then you see it, it's finished
and boom!
The set looks like chaos.
While the camera man spotlights
the scene...
the director's working on consistency
between scenes and giving instructions.
Call the guards.
Right hand. Ok. Light on this!
A bit lower.
Well... innovative... Yes, because we
held the camera in our hand a lot.
There was no Steadicam yet.
I had to do everything from my shoulder.
I was known to be rather
steady, so...
And Paul knew that. That's why.
But we're following him.
So the sound has to be as loud as you
heard him there.
I had never really thought
about that.
But I started to agree more and more
with what Ton wanted.
Which is to be right there with
the camera.
The way you do now. Go after it and
shoot everything handheld.
Ton taught me all that.
Do you need anything?
A look behind the scenes
kills the illusion.
What looked so real, has been
created using a car...
...a camera and ten people pushing.
Go, 1, 2, go!
So you get into a rhythm.
Go, 1, 2, go!
Yes.
Yes, don't make it take too long.
Go, 1, 2, go!
Ok.
When I show them something, Carice
van Houten always says: "Do that again".
But the first one
who ever said that...
maybe it was passed on from one
actress to the next, was Ida Bons.
Whenever I'd show them how to do
something, "like this and this"...
she'd say" I don't get it
at all, Paul.
Can I stand at the camera and see
how it goes?
It was Paul's debut.
And he was... well...
very young, inexperienced,
enthusiastic.
Like a young dog.
He got us all motivated.
With his enthusiasm.
"You should do it like this and
like this."
And then he'd show us the whole
thing.
And then we'd sometimes be like:
"Uhm, Paul, how do I do this?"
Then he'd say: "Well, like this!"
I remember the first day.
"Yes, that's good..."
I hadn't yet learnt how to deal
with actors.
I also thought they were dangerous.
Dangerous women, dangerous men.
And then we'd laugh at him
and he'd get all shy.
Yes, he'd be all shy.
Yes, I slowly learnt all that,
during the making of Floris.
Floris is my school in movie making.
Action!
Oh, darling!
It's been a while.
-Yes, a very long time.
Hello, hello, hello.
Countess Ada Van Couwenberg.
Didn't we enter on horseback?
For the tournament.
Yes.
-Yes, it was there.
Yes, you were the servants.
-Side saddling, with the dress here.
Lord Japik Van Hogenthout.
Countess Ada Van Couwenberg.
Lord Jan Van Pannerden.
Countess.
Allow me.
Thank you.
Excuse me.
Hello Floris.
-Countess.
One moment.
Then a horse started to poo.
And Hammy De Beukelaer, head of
the stunt team...
walked up to it, caught it with
his hands...
came up to me and said:
"Paul, pure nature".
He's still just as crazy!
I'll never forget it. I was speechless
that someone would do that.
Hammy was a bit of a rowdy
character.
Another education and upbringing
than me, of course.
To me, that was something you didn't
talk about.
"Pure nature." I'll never forget it.
We also had that big dinner here.
In the basement, remember?
What was that for?
There was a dinner after the tournament.
-Ah yes, yes.
In that huge room with...
-Yes, the round room.
Let us sneak in
Let him quietly go inside
We shot a big scene here as well.
Where they were all eating
at the table.
They were sitting at that table,
which was here.
About twelve men were at the table.
And something had been put
in the soup.
Is there meat in the soup?
-Certainly, sir.
Give me nuts.
Yes, he was a vegetarian.
-Sindala and Rutger solve that later.
Oh, I don't remember that.
-Yes, we were just downstairs.
Yes, you were there.
Jacco played a tune for you.
Those two are so nice.
So playful and cheerful.
Really nice.
And casual and... it worked
really well.
Sound? Rolling. Camera? Rolling.
552/5, second time.
Action!
And I'd see someone up there,
with the boom pointing downward.
I thought: "Who's that?"
That was the first time, weeks after
we started. that I realised...
that there was someone called
Ad Roest.
Sound. Rolling. Camera. Time, 2-3,
second time.
It's unbelievable how Paul influenced
our lives and careers.
Because he...
He allowed us to grow with him.
As if you should take this.
Guys, be as quiet as possible,
please.
Yes, alright, the soldiers are
walking to the side.
Hey Ton.
-Hi Paul. Hello, buddy.
So nice to meet you.
And Ad. Everything alright, Ad?
-Yes, fine.
Right.
Very good.
-So nice.
It's really...
Have you ever been back here?
-I drove past once.
Because I...
-Out of nostalgia.
It's been a while, hasn't it?
-Yes, a couple of years now.
Well... a couple...
Ten, fifteen, I believe.
You look after Roland.
-No.
No?
-We're going with you.
You?
Yes, we.
The ladies want to work their way
into a castle.
Go do some embroidery.
-You think women can't do anything.
You're quite wrong then.
Goodbye.
Look after Roland.
How about that?
Pff!
What was nice is that he was very much
open to spontaneous ideas.
When something happened on the set,
he'd immediately say: "Yes, we'll do that".
That was a lot of fun.
That made the collaboration very...
mutual.
It's about using the things
that happen to be there.
Right...
Look...
You should look at the ground here.
There's this. It was already there.
We didn't make it.
It's an escape tunnel.
Those are handy things.
This is fun to use.
That happens more than you'd think
in movies.
What did you find out?
-The Copper Dog is coming.
The Copper Dog?
-It will be here in two days.
What was good about Paul
was that...
That he didn't think "We have to
make this fun".
No. The series is already fun.
Let's act normal.
We've kept it sort of realistic.
Apart from making a rope go up
in the air using magical powers...
it all stayed within the realm
of realism.
Careful!
Are you hurt?
I'm very sorry.
Normally, nobody comes here.
Who stopped you?
-I don't know. This big guy.
He was bellowing like a bull.
-Does he have a black beard?
Yes, down to here.
That's Big Pier!
-We'll have to hurry then.
That was very scary.
They put me on that horse
and then it went at a gallop.
I remember yelling: "Run! Run!"
On that horse.
I screamed with fear.
It was a good thing that Ad wasn't
there then.
The atmosphere was really nice.
Especially for this episode, with Ida
and Diana.
That was a very cheerful episode.
A star who makes a movie,
obviously has a stand-in.
In this case, a sound engineer
is the guinea pig.
Is that my lighter?
We laughed a lot when something
unexpected would happen.
Then we'd start laughing and we'd have
to do it again.
Or we did a good job and Ad would say:
"No, I had no sound".
You can lower him. Thank you.
Hold on.
Ok, that's it.
He was very inventive.
A very capable guy. Noticeably so.
You notice when someone comes up with
things and improves how you're thinking.
Viola, if you need a confessor...
Viola, if you need a confessor...
Just give me a call.
When you marry Floris,
I'll be at your wedding.
He hasn't asked me yet.
-He's a push-over.
Goodbye, Viola.
You're a good girl.
I've communicated with you
at a deep spiritual level.
I didn't know it's called that,
Your Reverend.
Viola, if you ever need a confessor...
Reverend, I need one three
times a day.
Ho!
Jaap.
-Paul.
How are you?
-You haven't changed a bit.
No? But neither have you.
Well uhm... You look great.
-Thank you.
It's very nice to see you.
Thank you.
And also to reminisce about
the Floris days.
You probably shot the scene here.
-No.
Was it at Loevestein Castle?
-Yes.
We shot so much here.
-It was very cold.
Captain Van Rossem for the
Duke of Guelders.
Floris van Rosemondt is back.
Van Rosemondt?
These are his papers.
One of you broke one of those
things in two.
A pawn or a queen, in reply to the
question "What shall we do with Floris?"
You or Hans Culeman went... snap!
and threw the bits on the board.
I thought that...
What shall we do with them?
Alright.
I was... 45?
Yes 45, I think.
Culeman was younger, maybe 35.
Look where we are now.
-Yes.
Next time...
No, I didn't fancy Rutger.
No. He wasn't my type.
He looked good, of course.
He approached and he went bam!
I thought 70, but he worked on
170 programs.
Here's a scene where Rutger jumps
into the moat.
The nice thing about that scene was that
there was a little conspiracy going on.
WHAT A DRAMA
I yell. I whisper. I listen.