Wat een drama (2014): Season 1, Episode 2 - Floris: Part 2 - full transcript
WHAT A DRAMA
Floris, the TV series, was shot
in 1968.
Do the math.
That's about 45 years ago.
Our original choice was
Carol Van Herwijnen.
He'd play the part of Floris.
Just before we started shooting,
maybe two weeks prior...
it turned out that the Rotterdam Theatre
company didn't allow him...
to play in the series.
So we said: "Then we should take
Rutger. He looks so good."
"He's a real hero."
But, you know...
nobody had a high opinion of Rutger's
acting.
What are you doing here?
-We're riding through the forest.
Yes, across the forest.
Why not over the road?
Because this is the shortest.
-Ah, so that's it.
Man, stop lying. Come!
-I wouldn't know why.
Because you don't want to pay toll.
And because I don't like your face.
Come.
Hurry!
Previously...
Oldenstein!
As it happens, Gerard Soeteman,
writer of the series, is here too.
There he goes!
Previously...
Hi.
Hello, hello, hello.
Previously...
Paul, how are you?
-You haven't changed a bit.
No.
Previously...
Very well. Great fun.
It's looking good, Ton.
The sound's also good, Ad.
Loud and clear.
For Dutch standards.
-Yes, for Dutch standards.
Camera's rolling. 235/1, first time.
The series was called Floris and
the Fakir.
Later, that was changed to Floris,
which greatly angered Jos Bergman...
who played Sindala, the fakir.
It was written in a time when
everybody thought...
that all wisdom came from
the east.
So I thought I'd write a series
about a knight...
who hits first and thinks
afterwards.
And beside him, there's a...
fakir who thinks first and then says:
"Maybe we'd better not hit him".
We're going.
-Yes, I'm coming.
They thought the word fakir
was too difficult.
So in the end it became Floris.
But it also had to do with the fact
that Rutger became so domineering...
in the course of the series,
that the channel decided...
that it had to be called Floris.
We could add some atmosphere,
since the shot's so short.
So you really feel down.
Let's go through this for a bit.
You start by saying:
"Do you want anything?"
One more time, guys.
What you see is that the cameras...
when it's a two-shot,
of two people talking to each other...
then it's like this, isn't it?
Then they look equal.
But what happened is that the shots
became more and more like this.
And this is Rutger.
That's how most shots looked.
Three.
That was automatic.
It wasn't deliberate.
Rutger was so domineering that you
chose that angle automatically.
Where he...
-Rutger's a great actor, of course.
I asked you a question.
I've had lessons for three years,
so I can correct you now and then.
And how long did you go to drama school?
-For three years.
You can't compete with that,
of course.
You can't ignore talent.
Someone who's on the way to...
what did we know...
to make 60 or 70 movies...
No, 170. He was in 170 programs.
Movies and TV series.
-Yes, so you can't...
You may feel it, but you
don't know it.
You're automatically tempted to
see it like this.
This is Reinbout's room.
In that period, I was very much in
love with someone else.
So I wasn't in love with him
personally.
But I did really like him and
he was perfect for Floris.
Ada was very much in love with him,
of course.
This is your room.
The most beautiful one we have.
Thank you, sir Floris.
I'm very honoured.
What was my role?
That's a good question.
I was Countess Ada
Van Couwenberg.
Her father had passed away and
she was the heiress.
She had inherited land, castles,
what one had in those days.
I had a maid, Viola, played by
Ida Bons.
We were a very nice team together.
I was a bit more serious.
Ida was a blabbermouth.
As Viola, she was the comic relief.
What is it?
Floris is here.
-Floris?
Why is he here?
-Yes, I wonder.
Ada's in love with Floris!
It's so funny.
But I discovered women too late...
as an opportunity to include
in a series.
You made up for that later.
Didn't someone jump out of this?
He didn't jump out of a window,
he jumped out of a door.
I think it's under me here.
There's an area that we used
part of.
If we walk past the moat...
you'll be able to see where it is.
Yes!
Here's a scene where Rutger jumps
in the moat.
There's a bridge there now.
That wasn't there back then.
The interesting thing about that scene
was that there was a little conspiracy.
The thing is...
The idea was that Rutger would jump
in the moat here.
It should have gone like this.
Boom! Bam! There!
And into the water.
There was no guarantee that you
could go very deep in.
So it was absolutely necessary
that the jump, the splash...
You can go like this. Then you do
this, but you don't go very deep.
But Rutger had told Ton Bun?...
Yes, he was going to dive.
-He hadn't told me that.
No.
-Because it wasn't allowed.
I said to him: "Will you be
careful?"
He said: "Yes, if you keep me in focus".
So there comes Rutger at high
speed.
He comes running and dives
like this.
Extremely dangerous.
And everybody froze, because this
hadn't been checked out first.
But it came out well.
If you watch it now...
it looks extremely energetic.
You can feel that a lot of people
were very inspired.
Just try it, don't be afraid
and just do it.
Ok, your attention, please.
Silence.
Quiet.
Ok guys, quiet please.
Yes, action!
-It didn't feel like work at all.
It was such fun to run through
the forest and with the horses.
It was adventurous and all.
You also didn't have to remember many
lines, because just before it started...
I'd ask: "What do I say?" and
they'd tell me.
"Ok, I can remember that" and then we
did it and went to the next shot.
Way too many soldiers.
-Do we attack?
Are you crazy, man?
This is a moment where the bang has
to come in time.
Ti-ta-ta-ram. Bang!
It could be long or short.
Let's keep an eye on that.
Shall we do it again?
The atmosphere of a TV series,
the suspense and the humour...
are strongly determined by
the music.
A large orchestra filled many
hours of tape.
When the recordings were finished,
the TV series didn't exist yet.
From kilometres of material,
the best audio and video...
...recordings have to be combined
with great care and artistry.
This is weeks of work for a single
episode.
There was a huge ruckus.
For weeks and months, as long as
shooting took...
there was extremely harsh criticism in the
publications of the public channel.
"This was not the job of the public
channel."
The public channel shouldn't make
entertainment.
But then it turned out to be so
popular that...
it attracted more viewers than the best
watched episode of the sports program.
The script says that the terrible
Copper Dog cannon...
had half disappeared in the mud.
And that the strong cannoneer pulls
it out.
It's difficult. It's less difficult
to get it out of the mud...
than to get it into the mud.
Lazy scoundrels, you're useless!
Come on!
Weaklings!
That's the Copper Dog.
The biggest cannon ever made.
One shot and Oldenstein is in ruins.
So everything's lost?
Not yet.
It was the first production
on location...
which was unusual in the Netherlands.
It hadn't been done before.
And it was the time of the transition
from black and white to colour.
We were lucky to be shooting in
black and white.
Because if you turn around and
look at the gate...
you'll see all this green ivy.
Which isn't very heroic,
if you ask me.
So you'd have had to remove
it all.
But because it's in black and white, you
only see a slightly different colour.
They're leaves, but they're not very
noticeable.
In the footage you're shooting
right now, it's going to stand out.
It would be very ugly in a movie.
And such beautiful colours.
-But now we really have to go.
It's past four. How is that possible?
The clock struck three.
They turned the city clock back
an hour.
Because it's from the hand, it's always
a bit like this.
That creates an impression of
observation.
The style was a bit staccato.
A bit Eisenstein, Potemkin.
And it slowly changes into a smoother
style...
which you always wanted, I believe.
Eventually, things flow into each
other more.
Staging becomes more important.
I can see it, because I know what has
been shot later.
You can see Rutger get better too,
by the way.
Then we'll be too late.
We'll never be at the gate before 5.
-No.
We won't be able to leave tonight.
-Now what?
We'll have to wait until tomorrow
morning.
In those days, I had founded a new
theatre company.
The Noorder Compagnie.
There, he worked as an actor
among actors.
They picked him and that
conflicted...
with the fact that he was
employed by us.
Oh, he's so tall and blond.
And strong. And witty.
Floris.
The new Lord of...
-Ouch!
Oh, I'm sorry.
-It's nothing.
Because of this meeting...
-Yes.
all kinds of memories are
coming back.
Especially of the time when Rutger...
-Of course.
started with you.
-Yes.
I just praised you saying how special
it was...
that you allowed us to use Rutger
like that.
That was fantastic.
I just emphasised that again.
I thought I should have thanked
you for that.
Anyway, I'm doing that now.
Thank you.
Countess.
Welcome, Floris.
On behalf of Lord Wolter, I'm inviting
you to a party at his castle.
Oh, a party!
-Viola!
Oh, excuse me.
May I hope you will be there?
I can't say no to an invitation
by Lord Wolter... and you.
Thank you. See you again soon.
-Are you leaving already?
I'm sorry. There is a lot to do.
Countess.
Then Floris walks off and takes
my entire embroidery with him.
He waves his cape.
I'm already a bit in love with
Floris...
so Viola's teasing me:
"Ada's in love".
Then we read that there will be
a tournament.
We don't like that, of course.
A tournament? Huh?
A tournament.
-He calls that a party.
No, I didn't fancy Rutger.
No, he wasn't my type.
He looked good, of course.
He looked good. I saw that too.
Everybody saw that.
He looked good.
But there was no real contact
or anything.
He was always a bit... not there.
Privately, we all hung out together
in the evenings, in the hotel.
Men, I have a surprise.
The three fools!
Cheers!
Cheers!
We'd be offered delicious meals...
and we'd be chatting with
the whole crew.
Mischief in the bedrooms and
stuff.
Tying underwear together and
hanging it out of the windows.
But Rutger would be gone.
How did...
Then I went upstairs with my
lady's-maid...
and we saw those footsteps,
because the funny thing is...
he came up via the moat,
using a rope.
He threw a hook into the window
and climbed up.
Viola...
I feel so sad.
Play me something on
your lute.
23 times!
-That take?
Do you remember?
-No, I don't.
I remember it well.
Was that 23 times?
How did it go?
-You wrong, you wrong, me wrong.
Sound wrong. Giggling.
Giggling!
Yes, but are you surprised?
Who wouldn't laugh?
What?
-You just have to laugh.
Is this one of Hammy de Beukelaer's men?
-Yes, Henkie.
The will! Get it!
Try to come up as much as you can,
while remaining seated.
So don't stay like this, but straighten
up a bit.
And look that way. Whatever's
natural.
Ready? Raise your hand. Yes, ok.
Action!
Yes, I've got it!
Get him!
There he goes!
Max Appelboom was the producer
of the series.
And Max Appelboom had learnt somewhere,
supposedly in Hollywood...
but that doesn't matter, that you shouldn't
show actors the rushes.
To wrap it up, they watch the rushes
from the previous day.
If something went wrong,
they can still re-shoot it.
Everybody loudly comments.
The actors aren't present during
the viewing of the rushes.
That might influence their acting
and make them insecure.
But Rutger was always under the table,
near my feet.
Rutger would sneak into the room...
and would sit under the table,
so he could see what he had done.
He only looked at what he did wrong,
so he could improve.
That was very special. He wasn't worried
that he had done something wrong.
He just said: "I didn't do that well.
I'll do it better next time".
Rutger and I learnt how to make movies
on the set.
The first bits of Floris are a bit
wooden, really.
Well, you know... I thought of this
later...
You were for Rutger on
the screen...
what I was for him on stage.
A bit of an... enabler.
-Enabler, yes.
But you can only encourage what's
already there.
Exactly.
I'll be needing your help badly.
Why are you riding so slowly?
-I'm not very comfortable.
Come, we're going.
Still very young here, our Rutger.
It doesn't feel that long ago.
-No, no.
They came on the set and said:
"It's cold!"
And I had written that and I thought:
"What an honour!"
That they said that.
I didn't really know that much about
writing.
So I learnt a lot from Gerard.
How to look at a plot, for instance.
I never looked at that much.
How soft.
Pure down.
Good, isn't it?
-Soft, yes.
He checks whether it bounces, so he
bounces but then they go like this...
that was a sexual metaphor.
See? He was already like that.
But that wasn't allowed.
The worst thing you could say was...
I didn't even realise you meant that.
-No?
Of course not. We were green as grass.
-I'm not surprised.
And we sat down in those chairs
and you pushed...
a pouf towards Floris and he
put his legs on it.
And then you said to Rogier:
"Sing us another tune".
When a lad and a virgin get together
And then his hand fell against mine and
then you thought...
And what is about to happen
He was asleep.
-He was tired from the tournament.
He's asleep!
-What?
He's asleep!
That would never have
happened to Lord Roland.
Big actors were participating, such as
Van Ulsen, Ton Lensink and many others.
Hans Culeman. And also Diana Marlet
and Ida Bons.
Most of them stayed in the Netherlands
and went on to do beautiful things here.
But a few were exceptions,
such as Paul and Rutger.
They have international careers.
It was great.
It was a lot of fun.
Very nostalgic after so many years,
to see everybody again.
I was still in touch with a
few people, but not with most.
And then to have everything
come back to you...
all the obstacles
you had to overcome.
And the solidarity of the crew
and the cast helped with that.
When I see the people again, I remember
how it was possible that we did this.
In such a casual, warm manner.
It's that warmth that you feel
and the emotion it evokes.
Thank you very much.
-Ok.
Floris, the TV series, was shot
in 1968.
Do the math.
That's about 45 years ago.
Our original choice was
Carol Van Herwijnen.
He'd play the part of Floris.
Just before we started shooting,
maybe two weeks prior...
it turned out that the Rotterdam Theatre
company didn't allow him...
to play in the series.
So we said: "Then we should take
Rutger. He looks so good."
"He's a real hero."
But, you know...
nobody had a high opinion of Rutger's
acting.
What are you doing here?
-We're riding through the forest.
Yes, across the forest.
Why not over the road?
Because this is the shortest.
-Ah, so that's it.
Man, stop lying. Come!
-I wouldn't know why.
Because you don't want to pay toll.
And because I don't like your face.
Come.
Hurry!
Previously...
Oldenstein!
As it happens, Gerard Soeteman,
writer of the series, is here too.
There he goes!
Previously...
Hi.
Hello, hello, hello.
Previously...
Paul, how are you?
-You haven't changed a bit.
No.
Previously...
Very well. Great fun.
It's looking good, Ton.
The sound's also good, Ad.
Loud and clear.
For Dutch standards.
-Yes, for Dutch standards.
Camera's rolling. 235/1, first time.
The series was called Floris and
the Fakir.
Later, that was changed to Floris,
which greatly angered Jos Bergman...
who played Sindala, the fakir.
It was written in a time when
everybody thought...
that all wisdom came from
the east.
So I thought I'd write a series
about a knight...
who hits first and thinks
afterwards.
And beside him, there's a...
fakir who thinks first and then says:
"Maybe we'd better not hit him".
We're going.
-Yes, I'm coming.
They thought the word fakir
was too difficult.
So in the end it became Floris.
But it also had to do with the fact
that Rutger became so domineering...
in the course of the series,
that the channel decided...
that it had to be called Floris.
We could add some atmosphere,
since the shot's so short.
So you really feel down.
Let's go through this for a bit.
You start by saying:
"Do you want anything?"
One more time, guys.
What you see is that the cameras...
when it's a two-shot,
of two people talking to each other...
then it's like this, isn't it?
Then they look equal.
But what happened is that the shots
became more and more like this.
And this is Rutger.
That's how most shots looked.
Three.
That was automatic.
It wasn't deliberate.
Rutger was so domineering that you
chose that angle automatically.
Where he...
-Rutger's a great actor, of course.
I asked you a question.
I've had lessons for three years,
so I can correct you now and then.
And how long did you go to drama school?
-For three years.
You can't compete with that,
of course.
You can't ignore talent.
Someone who's on the way to...
what did we know...
to make 60 or 70 movies...
No, 170. He was in 170 programs.
Movies and TV series.
-Yes, so you can't...
You may feel it, but you
don't know it.
You're automatically tempted to
see it like this.
This is Reinbout's room.
In that period, I was very much in
love with someone else.
So I wasn't in love with him
personally.
But I did really like him and
he was perfect for Floris.
Ada was very much in love with him,
of course.
This is your room.
The most beautiful one we have.
Thank you, sir Floris.
I'm very honoured.
What was my role?
That's a good question.
I was Countess Ada
Van Couwenberg.
Her father had passed away and
she was the heiress.
She had inherited land, castles,
what one had in those days.
I had a maid, Viola, played by
Ida Bons.
We were a very nice team together.
I was a bit more serious.
Ida was a blabbermouth.
As Viola, she was the comic relief.
What is it?
Floris is here.
-Floris?
Why is he here?
-Yes, I wonder.
Ada's in love with Floris!
It's so funny.
But I discovered women too late...
as an opportunity to include
in a series.
You made up for that later.
Didn't someone jump out of this?
He didn't jump out of a window,
he jumped out of a door.
I think it's under me here.
There's an area that we used
part of.
If we walk past the moat...
you'll be able to see where it is.
Yes!
Here's a scene where Rutger jumps
in the moat.
There's a bridge there now.
That wasn't there back then.
The interesting thing about that scene
was that there was a little conspiracy.
The thing is...
The idea was that Rutger would jump
in the moat here.
It should have gone like this.
Boom! Bam! There!
And into the water.
There was no guarantee that you
could go very deep in.
So it was absolutely necessary
that the jump, the splash...
You can go like this. Then you do
this, but you don't go very deep.
But Rutger had told Ton Bun?...
Yes, he was going to dive.
-He hadn't told me that.
No.
-Because it wasn't allowed.
I said to him: "Will you be
careful?"
He said: "Yes, if you keep me in focus".
So there comes Rutger at high
speed.
He comes running and dives
like this.
Extremely dangerous.
And everybody froze, because this
hadn't been checked out first.
But it came out well.
If you watch it now...
it looks extremely energetic.
You can feel that a lot of people
were very inspired.
Just try it, don't be afraid
and just do it.
Ok, your attention, please.
Silence.
Quiet.
Ok guys, quiet please.
Yes, action!
-It didn't feel like work at all.
It was such fun to run through
the forest and with the horses.
It was adventurous and all.
You also didn't have to remember many
lines, because just before it started...
I'd ask: "What do I say?" and
they'd tell me.
"Ok, I can remember that" and then we
did it and went to the next shot.
Way too many soldiers.
-Do we attack?
Are you crazy, man?
This is a moment where the bang has
to come in time.
Ti-ta-ta-ram. Bang!
It could be long or short.
Let's keep an eye on that.
Shall we do it again?
The atmosphere of a TV series,
the suspense and the humour...
are strongly determined by
the music.
A large orchestra filled many
hours of tape.
When the recordings were finished,
the TV series didn't exist yet.
From kilometres of material,
the best audio and video...
...recordings have to be combined
with great care and artistry.
This is weeks of work for a single
episode.
There was a huge ruckus.
For weeks and months, as long as
shooting took...
there was extremely harsh criticism in the
publications of the public channel.
"This was not the job of the public
channel."
The public channel shouldn't make
entertainment.
But then it turned out to be so
popular that...
it attracted more viewers than the best
watched episode of the sports program.
The script says that the terrible
Copper Dog cannon...
had half disappeared in the mud.
And that the strong cannoneer pulls
it out.
It's difficult. It's less difficult
to get it out of the mud...
than to get it into the mud.
Lazy scoundrels, you're useless!
Come on!
Weaklings!
That's the Copper Dog.
The biggest cannon ever made.
One shot and Oldenstein is in ruins.
So everything's lost?
Not yet.
It was the first production
on location...
which was unusual in the Netherlands.
It hadn't been done before.
And it was the time of the transition
from black and white to colour.
We were lucky to be shooting in
black and white.
Because if you turn around and
look at the gate...
you'll see all this green ivy.
Which isn't very heroic,
if you ask me.
So you'd have had to remove
it all.
But because it's in black and white, you
only see a slightly different colour.
They're leaves, but they're not very
noticeable.
In the footage you're shooting
right now, it's going to stand out.
It would be very ugly in a movie.
And such beautiful colours.
-But now we really have to go.
It's past four. How is that possible?
The clock struck three.
They turned the city clock back
an hour.
Because it's from the hand, it's always
a bit like this.
That creates an impression of
observation.
The style was a bit staccato.
A bit Eisenstein, Potemkin.
And it slowly changes into a smoother
style...
which you always wanted, I believe.
Eventually, things flow into each
other more.
Staging becomes more important.
I can see it, because I know what has
been shot later.
You can see Rutger get better too,
by the way.
Then we'll be too late.
We'll never be at the gate before 5.
-No.
We won't be able to leave tonight.
-Now what?
We'll have to wait until tomorrow
morning.
In those days, I had founded a new
theatre company.
The Noorder Compagnie.
There, he worked as an actor
among actors.
They picked him and that
conflicted...
with the fact that he was
employed by us.
Oh, he's so tall and blond.
And strong. And witty.
Floris.
The new Lord of...
-Ouch!
Oh, I'm sorry.
-It's nothing.
Because of this meeting...
-Yes.
all kinds of memories are
coming back.
Especially of the time when Rutger...
-Of course.
started with you.
-Yes.
I just praised you saying how special
it was...
that you allowed us to use Rutger
like that.
That was fantastic.
I just emphasised that again.
I thought I should have thanked
you for that.
Anyway, I'm doing that now.
Thank you.
Countess.
Welcome, Floris.
On behalf of Lord Wolter, I'm inviting
you to a party at his castle.
Oh, a party!
-Viola!
Oh, excuse me.
May I hope you will be there?
I can't say no to an invitation
by Lord Wolter... and you.
Thank you. See you again soon.
-Are you leaving already?
I'm sorry. There is a lot to do.
Countess.
Then Floris walks off and takes
my entire embroidery with him.
He waves his cape.
I'm already a bit in love with
Floris...
so Viola's teasing me:
"Ada's in love".
Then we read that there will be
a tournament.
We don't like that, of course.
A tournament? Huh?
A tournament.
-He calls that a party.
No, I didn't fancy Rutger.
No, he wasn't my type.
He looked good, of course.
He looked good. I saw that too.
Everybody saw that.
He looked good.
But there was no real contact
or anything.
He was always a bit... not there.
Privately, we all hung out together
in the evenings, in the hotel.
Men, I have a surprise.
The three fools!
Cheers!
Cheers!
We'd be offered delicious meals...
and we'd be chatting with
the whole crew.
Mischief in the bedrooms and
stuff.
Tying underwear together and
hanging it out of the windows.
But Rutger would be gone.
How did...
Then I went upstairs with my
lady's-maid...
and we saw those footsteps,
because the funny thing is...
he came up via the moat,
using a rope.
He threw a hook into the window
and climbed up.
Viola...
I feel so sad.
Play me something on
your lute.
23 times!
-That take?
Do you remember?
-No, I don't.
I remember it well.
Was that 23 times?
How did it go?
-You wrong, you wrong, me wrong.
Sound wrong. Giggling.
Giggling!
Yes, but are you surprised?
Who wouldn't laugh?
What?
-You just have to laugh.
Is this one of Hammy de Beukelaer's men?
-Yes, Henkie.
The will! Get it!
Try to come up as much as you can,
while remaining seated.
So don't stay like this, but straighten
up a bit.
And look that way. Whatever's
natural.
Ready? Raise your hand. Yes, ok.
Action!
Yes, I've got it!
Get him!
There he goes!
Max Appelboom was the producer
of the series.
And Max Appelboom had learnt somewhere,
supposedly in Hollywood...
but that doesn't matter, that you shouldn't
show actors the rushes.
To wrap it up, they watch the rushes
from the previous day.
If something went wrong,
they can still re-shoot it.
Everybody loudly comments.
The actors aren't present during
the viewing of the rushes.
That might influence their acting
and make them insecure.
But Rutger was always under the table,
near my feet.
Rutger would sneak into the room...
and would sit under the table,
so he could see what he had done.
He only looked at what he did wrong,
so he could improve.
That was very special. He wasn't worried
that he had done something wrong.
He just said: "I didn't do that well.
I'll do it better next time".
Rutger and I learnt how to make movies
on the set.
The first bits of Floris are a bit
wooden, really.
Well, you know... I thought of this
later...
You were for Rutger on
the screen...
what I was for him on stage.
A bit of an... enabler.
-Enabler, yes.
But you can only encourage what's
already there.
Exactly.
I'll be needing your help badly.
Why are you riding so slowly?
-I'm not very comfortable.
Come, we're going.
Still very young here, our Rutger.
It doesn't feel that long ago.
-No, no.
They came on the set and said:
"It's cold!"
And I had written that and I thought:
"What an honour!"
That they said that.
I didn't really know that much about
writing.
So I learnt a lot from Gerard.
How to look at a plot, for instance.
I never looked at that much.
How soft.
Pure down.
Good, isn't it?
-Soft, yes.
He checks whether it bounces, so he
bounces but then they go like this...
that was a sexual metaphor.
See? He was already like that.
But that wasn't allowed.
The worst thing you could say was...
I didn't even realise you meant that.
-No?
Of course not. We were green as grass.
-I'm not surprised.
And we sat down in those chairs
and you pushed...
a pouf towards Floris and he
put his legs on it.
And then you said to Rogier:
"Sing us another tune".
When a lad and a virgin get together
And then his hand fell against mine and
then you thought...
And what is about to happen
He was asleep.
-He was tired from the tournament.
He's asleep!
-What?
He's asleep!
That would never have
happened to Lord Roland.
Big actors were participating, such as
Van Ulsen, Ton Lensink and many others.
Hans Culeman. And also Diana Marlet
and Ida Bons.
Most of them stayed in the Netherlands
and went on to do beautiful things here.
But a few were exceptions,
such as Paul and Rutger.
They have international careers.
It was great.
It was a lot of fun.
Very nostalgic after so many years,
to see everybody again.
I was still in touch with a
few people, but not with most.
And then to have everything
come back to you...
all the obstacles
you had to overcome.
And the solidarity of the crew
and the cast helped with that.
When I see the people again, I remember
how it was possible that we did this.
In such a casual, warm manner.
It's that warmth that you feel
and the emotion it evokes.
Thank you very much.
-Ok.