Dutch-born stage, television, and screen actor Derek de Lint (b. 1950) who appeared in films such as Paul Verhoeven’s “Soldier of Orange” (1977), Academy Award-winner “The Assault” (1986) and opposite Daniel Day-Lewis, Juliette Binoche, and Lena Olin in “The Unbearable Lightness of Being” (1988), visited Brussels recently where he was a member of the jury at the latest Brussels Film Festival. As an internationally renowned character actor, he spent a considerable amount of time in America, but several years ago, he returned to Amsterdam. Still acting, passionate and enthusiastic as ever about his craft, this what he had to say in between the films he and his fellow jury members saw at the Flagey building in Brussels.

Mr. de Lint, as a member of the Festival jury, from which point of view do you judge the films you get to see? Do you watch them as an actor? As a spectator?

Strictly as a spectator. I do know what an actor can do with a character or with a screenplay, or how he can work with a director, but I only watch the films as a spectator—or a professional spectator, so to speak. What’s most important to me when watching a movie is that I forget that I am an actor and that I won’t start analyzing the film, the performances,… Suppose I start having my doubts about the film, then I start wondering why. Is it the screenplay? Or maybe the direction? The actors, or the casting? So I like to be absorbed by the movie and the story, and when that happens, the movie is a thrilling experience to me.

When you get a screenplay offered, what do you focus on? What are the main ingredients you are looking for?

There are two things I always keep in the back of my mind. First of all, there is the story: how is it told, and can you visualize it on the screen? Secondly, there’s the character that I am supposed to play. If I like my part but am not blown away by the screenplay in general, is it worth then to be part of it? I don’t have the power to change a screenplay, so when I get a screenplay in my mailbox, I have the choice to accept it or turn it down. So I go through it, see how the story progresses—I am not a screenwriter, but after forty years in this business, I consider myself capable of reading a screenplay—but it is crucial to me that I get the opportunity to do something with the character. I am an actor, so in the end, that is my job, and you can do that with a good screenplay. You can’t fix a bad screenplay on the set or during the editing; you only can ease the pain a little bit.

When watching your performances in films and on television over the years, you are always a very interesting actor to watch, even when you don’t have any lines in a particular scene.

That’s always what you try to achieve as an actor. An actor doesn’t only need to look at what’s happening around him; he also has to think because most of the time, it is more than just being. You also have to ask yourself what your character is thinking about whenever you’re on the screen. In the Dutch-language movie “Gooische Vrouwen” [2011], for example, I played a character called doctor Rossi which became pretty famous because I didn’t say anything; I only looked. But that was a comedy—first as a TV series which ran for five seasons [2005-2009], followed by two feature films [2011 and 2014]—with a character who became very well-known because he was a psychiatrist from hell who didn’t know anything. So, in that case, there’s nothing to fall back on. As an actor, you have to be and look neutral then, to emphasize the effect of comedy. If you want to show any expression or emotion without using any words, you need to think and think things through.

How do you become your character? Do you use any specific technique in particular?

I sometimes feel the need to withdraw in solitude to concentrate, but I also like the ‘English school’ very much. I once did a film with Albert Finney [“The Endless Game,” 1989], and one day on the set, he was telling many anecdotes about Monty Python; during his imitations, you could hear in the background, ‘Okay, sound!’ And from the moment they said, ‘Action,’ he became his character, just like that. And he was perfect, take after take. After he had finished his scene, he came back and continued joking the whole time [laughs]. That’s something I like and admire a lot, but it doesn’t always work. I don’t think you can do that every time. When you got a very emotional scene coming up, it’s impossible to joke around with your colleagues. You have to be fully concentrated on what you’re about to do in front of the camera. You also have to focus on your director: ‘Is everything ready? We’re all set?’ So then the ‘school’ of Daniel Day-Lewis is a much better option. Also, time is very often the worst enemy on the set. So when you leave in the morning to go to the set, it’s very comfortable to know that you’ve done your homework and you know your lines, you’re focused on your scenes, you know what you’re up to—you’re in the exact mood. Then it’s not a good choice to start joking around on the set.

How and why did you become an actor?

That happened by accident, really. I first went to the Art Academy [in Enschede] because I liked to draw, but that was not a huge success. Then photography, another passion of mine, was not an option either, so then I went to the Kleinkunstacademie in Amsterdam, hoping to become a stand-up comedian. After two years, it became clear that this wouldn’t work out, but there was a teacher who taught Spanish dancing, and he introduced me to Flemish author Hugo Claus. He gave me my first acting role in a play set in a small place near Ghent, which I enjoyed very much, but it wasn’t until I was offered an important part in the feature film “Soldaat van Oranje” [a.k.a. “Soldier of Orange,” 1977] that I knew what to do for the rest of my life.

The film was very successful, also in the U.S. You became one of the first Dutch actors to work in the U.S., isn’t it?

Yes, but there were a few actors working there long before I arrived in the U.S., one of them being John Van Dreelen in the 1960s. He never really made it, but I once visited him in Malibu. There’s Rutger Hauer, too, of course who did much more than I did, but I am not bitter about that because I returned to the Netherlands by choice. After living in Vancouver for ten years, I thought it was time to go back home in 2005. I know now what it feels like to be homesick, and I wanted to go on stage again, play roles in Dutch movies—doing everything in my own language again, you know. I had a few wonderful opportunities in the U.S., and I came this close to a few important leading roles, such as in “Star Trek.” It would have made me very rich [laughs], but I don’t think it would have made me happy. I am very attached to my life living in the center of Amsterdam, I can go anywhere by bike, and after ten years in Vancouver, I just wanted to get my life back. Going to Los Angeles would not have been an option for me. Despite all the money I made, it was as though something had been taken away from me. While living in Vancouver, my mother had passed away, my father was almost ninety years and I simply wanted to be with him instead of visiting him once or twice a year. Also, my three sons had told me they wanted me to return to Amsterdam—one of them was living in New York—so I wanted my own private life back.

If you could turn back the clock, would you still go to America?

Absolutely. I am very happy that I had those ten years over there, and I enjoyed lots of opportunities and job offers I had while I was there. I have been able to work with a lot of international directors and actors. On top of that, I can enjoy a very nice pension now, much more than if I would have stayed in the Netherlands. But living over there for the rest of my life, even though they all have those beautiful homes and wonderful cars, no, then I prefer my old bike in Amsterdam.

The English-language trailer of Paul Verhoeven’s World War II drama “Zwartboek,” a.k.a. “Black Book” with Derek de Lint in one of the leading roles. The film was the official Dutch entry for the 2007 Academy Awards in the category Best Foreign-Language Film.

I suppose that filmmaker Paul Verhoeven, who directed you in “Soldier of Orange” and later on in “Black Book” [2006], two compelling World War II dramas, had a huge influence on your career, didn’t he?

Yes. I adore Paul, and if he calls me to say he’s got a part for me in a new film, I would accept it right away without reading the script. I just know he would never accept a script that he has any doubts about; he is a wonderful director and a man who knows the world. When I did “Soldier of Orange,” I didn’t realize that four decades later, I would still be talking about that film. When I arrived in Los Angeles at the end of the 1970s, early 1980s, many doors opened for me thanks to “Soldier of Orange.” Steven Spielberg, Robert Altman, Sam Peckinpah, Stanley Kubrick, they all had seen the film, and they just couldn’t believe that you could make a film with such production values for a budget of merely two and half million guilder [Dutch currency unit until 2002 when it was replaced by the euro]. So “Soldier of Orange” has been tremendously important to me. I actually hoped to play the leading role; I had this still photograph of mine, and I looked just like the character of Erik [role played by Rutger Hauer]. When Paul got to see this photograph, he said, ‘That’s him, that’s our leading man!’ But I didn’t have enough experience as an actor at that time. The same thing happened to me with “The Unbearable Lightness of Being” [1988]: director Philip Kaufman and producer Saul Zaentz wanted me to play the leading role of Thomas, a great role to play, but in the end, they had to choose between Daniel Day-Lewis and me… [laughs]. By then, he had finished “My Beautiful Laundrette” and “A Room With a View” [both 1985] and I had finished “Bastille” [1984], directed by Rudolf van den Berg—also a very good picture, but that was no competition to his work. So, in the end, I didn’t mind that I didn’t get to play Erik in “Soldier of Orange,” it would have been an enormous bourdon on my shoulders as I was still a rookie at that time. Also, I had no formal education as an actor. So, to answer your question: yes, Paul Verhoeven has been very important to me. There are other directors too, like Fons Rademakers who directed me in “De Aanslag” [a.k.a. “The Assault,” 1986, Academy Award winner as Best Foreign-Language Film], he also put me on the map in the U.S.

Fons Rademakers was one of the great European continental filmmakers of his generation, wasn’t he?

Certainly, I was talking about him with Volker Schlöndorff; he was a highly respected filmmaker. All European directors knew him.

What made him so unique?

He was also an actor: he would always play out the scene for you, which is terrible for an actor [laughs] because you’re tempted to do what he does, and that is not done. Other than that, I can only say great things about him. He was very passionate about his work, and he enjoyed life, things we both shared. He loved the book; I knew [author] Harry Mulisch, also [cinematographer] Theo van de Sande—we had done “Van de koele meren des doods” [a.k.a. “Hedwig: The Quiet Lakes,” 1982] together—so we all knew each other. I had worked with actress Monique van de Ven already in Ate de Jong’s “Dag Dokter” [a.k.a. “Inheritance,” 1978]. Menahem Golan and Yoram Globus of Cannon had bought the Tuschinsky theater chain in the Netherlands. When they heard about the plans to bring Mulisch’s book to the screen, they told him, ‘Fons, we’re gonna make a big Hollywood production with big international stars!’ And Fons said, ‘Oh no, I’m very sorry, this is a Dutch story, it will be a Dutch film, and we’ll work with a Dutch cast.’ But when the film won an Oscar, they were very happy that they could distribute the film.

Did this Academy Award launch your career in America?

Well, you know, the funny thing is, if you ask the day after the Oscar ceremonies who won the Oscar for Best Foreign-Language Film, nobody will remember it. The Oscars that matter the most are the Best Picture, Best Director, Best Actor and Actress, and Supporting Actor and Actress Awards. The films in the Best Foreign-Language category are very interesting in the countries that submit those films. In the Netherlands, the Academy Award for “The Assault” was an enormous hype, but in America, it was only important within the film industry, for casting agents, not for a mainstream audience. But Menahem Golan and Yoram Globus promoted the film just beautifully: each day, they ran a small ad in The Los Angeles Times, and they made the film very visible by running it in Los Angeles for weeks and weeks, so everybody in the industry had a chance to see it.

You made a Flemish film many years ago, called “Mascara” [1987]. Considering the booming Flemish film industry, would you consider making another Flemish film?

I would love to! Now! “Mascara” back then was very important to me, maybe even more important than “The Assault”: during the premiere of “The Assault,” Patrick Conrad [director of “Mascara”] came up to me, he introduced himself and said, ‘I am going to make a film with Sting and Charlotte Rampling. Would you like to be a part of it?’ Of course, I would. Eventually, Sting wasn’t able to do the film because he had to go on tour, so he was replaced by Michael Sarrazin. I knew him from a wonderful picture called “They Shoot Horses, Don’t They?” [1968]. So there I was on the set in Ostende, in front of the Thermae Palace Hotel. It was a very strange film, but I played Charlotte Rampling’s lover, and she was so kind to introduce me to her French agent Olga Horstig-Primuz who also represented stars like Brigitte Bardot and Yves Montand. Later Ms. Rampling also brought me to the attention of her English agent Jean Diamond who introduced me to international films. Olga was also there when we did “The Unbearable Lightness of Being,” and it was very important for me to be represented by the right people who really fought for me. And all of that happened thanks to “Mascara.” In the end, this film really made a difference for me. But now, I would love to work in Flemish films again. When “Rundskop” [“Bullhead,” 2011] came out, everybody wanted to see it—and we all did. In the Netherlands, for example, actors and directors all speak very highly about Flemish films.

Brussels Film Festival, Brussels (Belgium)
June 18, 2016

Mr. de Lint in a hilarious 1987 TV commercial made for Dutch television. Just one straight and simple camera shot, without any tricky photography or editing whatsoever.

FILMS

BAROCCO (1976) DIR André Téchiné PROD Alain Sarde, André Génovès SCR André Téchiné, Marilyn Goldin CAM Bruno Noytten MUS Philippe Sarde ED Claudine Merlin CAST Isabelle Adjani, Gérard Depardieu, Marie-France Pisier, Jean-Claude Brialy, Julien Guiomar, Hélène Surgère, Derek de Lint (Propaganda Man 1), Claude Brasseur

BLINDGANGERS, a.k.a. BLINDSPOT (1977) DIR Ate de Jong PROD Olga Madsen, Frans Rasker SCR Ate de Jong, Wanda Reisel CAM Marc Felperlaan MUS Willem Breuker ED Vivian Pieters CAST Ansje Beentjes, Jim Berghout, Derek de Lint (Mark), Diana Dobbelman, Ben Hulsman, Michiel Kerbosch

SOLDAAT VAN ORANJE, a.k.a. SOLDIER OF ORANGE (1977) DIR Paul Verhoeven PROD Rob Houwer SCR Paul Verhoeven, Gerard Soeteman, Kees Holierhoek (book by Erik Hazelhoff Roelfzema) CAM Jost Vacano MUS Rogier Van Otterloo ED Jane Sperr CAST Rutger Hauer, Jeroen Krabbé, Susan Penhaligon, Edward Fox, Lex van Delden, Derek de Lint (Alex), Huib Rooymans, Peter Faber, Rijk de Gooyer, Ward de Ravet, Bert Struys

DAG DOKTER, a.k.a. INHERITANCE (1978) DIR Ate de Jong PROD Fons Rademakers SCR Ate de Jong, Hugo Claus CAM Paul van den Bos MUS Willem Breuker ED Mario Steenbergen, Ate de Jong [uncredited] CAST Derek de Lint (Theo van Delft), Kitty Janssen, Dick Swidde, Monique van de Ven, André van den Heuvel, Huub van der Lubbe, Matthijs van Heijningen

KORT AMERIKAANS, a.k.a. CREW CUT (1979) DIR Guido Pieters PROD Gerrit Visscher SCR Guido Pieters, Karin Loomans (novel by Jan Wolkers) CAM Eduard van der Enden MUS Pim Koopman ED Ton Ruys CAST Derek de Lint (Erik), Tingue Dongelmans, Joop Admiraal, Cristel Braak, Guus Oster, Bernard Droog, Marlous Fluitsma

THE LUCKY STAR (1980) DIR Max Fischer PROD Claude Léger SCR Max Fischer, Jack Rosenthal CAM Frank Tidy MUS Art Phillips ED Yves Langlois CAST Rod Steiger, Louise Fletcher, Lou Jacobi, Brett Marx, Yvon Dufour, Helen Hughes, Isabelle Mejias, Rijk de Gooyer, Derek de Lint (Lieutenant Steiner), Johnny Kraaykamp Jr.

COME-BACK (1981) DIR Jonne Severijn SCR Jonne Severijn, Alma Popeyus, Chiem van Houweninge CAM Egbert Alterna ED Wouter Snip CAST Derek de Lint (Vriend Marij), Bert André, Johan Leysen, Ab Abspoel, Barbara Barendrecht

VAN DE KOELE MEREN DES DOODS, a.k.a. HEDWIG: THE QUIET LAKES (1982) DIR Nouchka van Brakel PROD Matthijs van Heijningen SCR Nouchka van Brakel, Ton Vorstenbosch (novel by Frederick van Eeden) CAM Theo van de Sande MUS Peter Faber, Erik van ‘t Wout, Erik van der Wurff ED Edgar Burcksen CAST Renée Soutendijk, Erik van ‘t Wout, Adriaan Olree, Derek de Lint (Ritsaart), Peter Faber, Claire Wauthion, Huub Stapel

EEN ZAAK VAN LEVEN OF DOOD (1983) DIR George Schouten PROD Matthijs van Heijningen SCR George Schouten (novel by Hans Vervoort) CAM Marc Felperlaan MUS Hero Wouters, Bart Terlaak ED Edgar Burcksen CAST Peter Faber, Carla Hardy, Derek de Lint (Jack de Graaf), Gerard Cox, Judy Doorman, Robert Sobels,

BASTILLE (1984) DIR Rudolf van den Berg PROD George Sluizer, Anne Lordon SCR Rudolf van den Berg, Annemarie Vandeputte (novel by Leon de Winter) CAST Derek de Lint (Paul de Wit / Nathan Blum), Geert de Jong, Evelyne Dress, Loudi Nijhoff, Ischa Meijer, Dora Doll, George Sluizer

MATA HARI (1985) DIR Curtis Harrington PROD Rony Yacov SCR Joel Ziskin CAM David Garfinkel MUS Wilfred Josephs ED Henry Richardson CAST Sylvia Kristel, Christopher Cazenove, Oliver Tobias, Gaye Brown, Gottfried John, William Fox, Derek de Lint (Handsome Traveller)

DE AANSLAG, a.k.a. THE ASSAULT (1986) DIR – PROD Fons Rademakers SCR Gerard Soeteman (novel by Harry Mulisch) CAM Theo van de Sande MUS Jurriaan Andriessen ED Kees Linthorst CAST Derek de Lint (Anton Steenwijk), Marc van Uchelen, Monique van de Ven, John Kraaykamp, Huub van der Lubbe, Elly Weller

MASCARA (1987) DIR Patrick Conrad PROD Pierre Drouot, Henry Lange, René Solleveld SCR Patrick Conrad, Pierre Drouot, Hugo Claus CAM Gilberto Azevedo MUS Egisto Macchi ED Susana Rossberg CAST Charlotte Rampling, Michael Sarrazin, Derek de Lint (Chris Brine), Herbert Flack, Harry Cleven, Serge-Henri Valcke

DAGBOEK VAN EEN OUDE DWAAS, a.k.a. DIARY OF AN OLD MAN (1987) DIR Lili Rademakers PROD Fons Rademakers, Pierre Drouot, Henry lange SCR Hugo Claus, Claudine Bouvier (novel by Jun’ichirô Tanizaki) CAM Paul van den Bos MUS Egisto Macchi ED Ton de Graff CAST Ralph Michael, Beatie Edney, Suzanne Flon, Derek de Lint (Philippe), Dora Van der Groen, Ina van der Molen

THREE MEN AND A BABY (1987) DIR Leonard Nimoy PROD Robert W. Cort, Ted Field SCR Coline Serreau, James Orr, Jim Cruickshank CAM Adam Greenberg MUS Marvin Hamlisch ED Michael A. Stevenson CAST Tom Selleck, Steve Guttenberg, Ted Danson, Nancy Travis, Margaret Colin, Alexandra Amini, Philip Bosco, Derek de Lint (Jan Clopatz), Celeste Holm

THE UNBEARABLE LIGHTNESS OF BEING (1988) DIR Philip Kaufman PROD Saul Zaentz SCR Philip Kaufman, Jean-Claude Carrière (novel by Milan Kundera) CAM Sven Nykvist MUS Mark Adler ED Vivien Hillgrove, Michael Magill, Walter Murch CAST Daniel Day-Lewis, Juliette Binoche, Lena Olin, Derek de Lint (Franz), Erland Josephson, Pavel Landovský, Stellan Skarsgård, Philip Kaufman

STEALING HEAVEN (1988) DIR Clive Donner PROD Simon MacCorkindale, Andros Epaminondas SCR Chris Bryant (novel by Marion Meade) CAM Mikael Salomon MUS Nick Bicât ED Michael Ellis CAST Derek de Lint (Abelard), Kim Thompson, Denholm Elliott, Bernard Hepton, Kenneth Cranham, Patsy Byrne, Cassie Stuart

RITUELEN, a.k.a. RITUALS (1989) DIR Herbert Curiel PROD Matthijs van Heijningen SCR Herbert Curiel (novel by Cees Nooteboom) CAM Marc Felperlaan MUS Jochem Fluitsma ED August Verschueren CAST Derek de Lint (Inni Wintrop), Thom Hoffman, Sigrid Koetse, Ton Lensink, Jerome Reehuis, Johan Ooms, Bert André

ANGIE (1993) DIR – PROD – SCR Martin Langstee CAM Tom Erisman MUS Joop Koopman, Clifford Scholten ED Herman P. Koerts CAST Annemarie Röttering, Daniël Boissevain, Hidde Schols, Derek de Lint (Peter Koudbier), Marijke Veugelers, Peter Tuinman

VENTI DAL SUD (1993) SCR Enzo Doria CAM Giancarlo Trasunto MUS Massimo Genna, Angelo Strizzi, Stefano Panunzi CAST Marisa Berenson, Derek de Lint (Peter), Klausjürgen Wussaw, Francesco Carnelutti, Julia Kent

AFFAIR PLAY (1995) DIR Roeland Kerbosch PROD Matthijs van Heijningen SCR Roeland Kerbosch, Dimitri Frenkel Frank, Bastiaan Gieben CAM Nils Post MUS Laurens van Rooyen ED Ewoud Hendriksen CAST Derek de Lint (Alex Witsen), Lysette Anthony, Bill Sage, Ann Hasekamp, Valerie Valentine, Boudewijn de Groot

LANG LEVE DE KONINGIN, a.k.a. LONG LIVE THE QUEEN (1995) DIR – SCR Esmé Lammers PROD Dick Maas, Laurens Geels CAM Marc Felperlaan MUS Paul M. van Brugge ED Hans van Dongen, Mark Glynne CAST Maya van den Broecke, Lisa De Rooy, Cas Enklaar, Derek de Lint (Bob Hooke), Rudolf Lucieer, Pieter Lutz, Tiba Tossijn

ALL MEN ARE MORTAL (1995) DIR Ate de Jong PROD Matthijs van Heijningen, Jean Gontier, Rudolf Wichmann SCR Ate de Jong, Olwen Wymark, Steven Gaydos (novel by Simone de Beauvoir) CAM Bruno de Keyzer MUS Michael Gibbs, Simon Fisher-Turner ED Nicolas Gaster CAST Irène Jacob, Stephen Rea, Marianne Sägebrecht, Derek de Lint (Bertus), Chiara Mastroianni,

DEEP IMPACT (1998) DIR Mimi Leder PROD Richard D. Zanuck, David Brown SCR Michael Tolkin, Bruce Joel Rubin CAM Dietrich Lohmann MUS James Horner ED Paul Cichocki, David Rosenbloom CAST Robert Duvall, Téa Leoni, Elijah Wood, Vanessa Redgrave, Morgan Freeman, Maximillian Schell, James Cromwell, Blair Underwood, Derek de Lint (Theo Van Sertema), Charles Martin Smith

SOUL ASSASSIN (2001) DIR Laurence Malkin PROD Laurence Malkin, San Fu Maltha SCR Laurence Malkin, Chad Thurmann CAM Lex Wertijn MUS Alan Williams ED Herman P. Koerts CAST Skeet Ulrich, Kristy Swanson, Derek de Lint (Karl Jorgensen), Rena Owen, Antonie Kamerling, Serge-Henri Valcke, Thom Hoffman

SUPERSTITION (2001) DIR Kenneth Hope PROD Denis Wigman, Bob Hubar SCR Paul Hoffman, Kate Dennis (story by Stephen Volk) CAM Stephen Smith MUS John Ewbank ED Kevin Whelan CAST Sienna Guillory, Mark Strong, Charlotte Rampling, Alice Krige, David Warner, Frances Barber, Derek de Lint (Allessandro Censi)

TOM & THOMAS (2002) DIR – SCR Esmé Lammers PROD Dick Maas, Laurens Geels CAM Marc Felperlaan MUS Paul M. van Brugge ED Bert Rijkelijkhuizen CAST Sean Bean, Derek de Lint (Mr. Bancroft), Aaron Johnson, Inday Ba, Bill Stewart, Sean Harris, Geraldine James

WHEN A STRANGER CALLS (2006) DIR Simon West PROD John Davis, Wyck Godfrey, Ken Lemberger SCR Jake Wade Wall (screenplay of WHEN A STRANGER CALLS [1979] by Steve Feke, Fred Walton) CAM Peter Menzies, Jr. MUS James Dooley ED Jeff Betancourt CAST Camilla Belle, Tommy Flanagan, Katie Cassidy, Tessa Thompson, Derek de Lint (Dr. Mandrikas), Brian Geraghty

ZWARTBOEK, a.k.a. BLACK BOOK (2006) DIR Paul Verhoeven PROD Jeroen Beker, Teun Hilte, Jens Meurer, San Fu Maltha, Frans van Gestel SCR Paul Verhoeven, Gerard Soeteman CAM Karl Walter Lindenlaub MUS Anne Dudley ED Job ter Burg, James Herbert CAST Carice van Houten, Sebastian Koch, Thom Hoffman, Waldemar Kobus, Derek de Lint (Gerben Kuipers), Halina Reijn, Christian Berkel, Dolf de Vries, Matthias Schoenaerts

DE BRIEF VOOR DE KONING, a.k.a. THE LETTER FOR THE KING (2008) DIR Pieter Verhoeff PROD Hans de Weers, Pieter Klapwijk, Hubert Nieuwendijk, Reinout Oerlemans SCR Pieter Verhoeff, Maarten Lebens (novel by Tonke Dragt) CAM Jules van den Steenhoven MUS Paul M. van Brugge ED Bart van den Broek CAST Yannick van de Velde, Quinten Schram, Rüdiger Vogler, Lars Rudolph, Victor Renier, Daan Schuurmans, Derek de Lint (Koning Dagonaut), Gijs Scholten van Aschat

GOOISCHE VROUWEN, a.k.a. VIPERS NEST (2011) DIR Will Koopman PROD John de Mol SCR Frank Houtappels CAM Tom Erisman ED Joseph Derksen CAST Linda de Mol, Susan Visser, Tjitske Reidinga, Lies Visschedijk, Peter Paul Muller, Derek de Lint (Doctor Rossi), Leopold Witte, Louis Talpe

NOVA ZEMBLA (2011) DIR Reinout Oerlemans PROD Reinout Oerlemans, Hans de Weers SCR Hugo Heinen (idea from Reinout Oerlemans, diary from Gerrit de Veer) CAM Lennert Hillege MUS Melcher Meirmans, Merlijn Snitker, Chrisnanne Wiegel ED Michiel Reichwein CAST Doutzen Krous, Derek de Lint (Willem Barentsz), Robert de Hoog, Jan Decleir, Semmy Schlit, Victor Reinier, Bas Keijzer

INSENSIBLES (2012) DIR Juan Carlos Medina PROD Antoine Simkine, François Cognard, M.A. Faura, Adolfo Blanco SCR Juan Carlos Medina, Luiso Berdejo CAM Alejandro Martínez MUS Johan Söderqvist ED Pedro Ribeiro CAST Àlex Brendemühl, Tómas Lemarquis, Ilias Stothart, Mot Stothart, Derek de Lint (Dr. Holzman), Ramon Fontserè

VALENTINO (2013) DIR Remy van Heugten PROD Joost de Vries, Leontine Petit, Derk-Jan Warrinck SCR Remy van Heugten, Éric Bresnard, Nicolas Boukhrief, Marco van Geffen CAM Mark van Aller MUS Alexander Reumers, Michelino Bisceglia, Jorrit Kleijnen ED Moek de Groot, Stanley Kolk CAST Yolanthe Sneijder-Cabau, Derek de Lint (Karel), Elise Schaap, Nasrdin Dchar, Mimi Ferrer, Johnny de Mol, Kees Bot, Najib Amhali

DAGLICHT, a.k.a. DAYLIGHT (2013) DIR Diederick Van Rooijen PROD Reinout Oerlemans, Maarten swart, Rolf Koot SCR Marion Pauw, Simone Kome van Breugel, Diederik Van Rooijen, Philip Delmaar (novel by Marion Pauw) CAM Linnert Hillege MUS Bart Westerlaken ED Moek de Groot, Stanley Kolk CAST Angela Schijf, Monique van de Ven, Derek de Lint (Twan Benschop), Fedja van Huêt, Maartje van de Wetering, Matteo van der Grijn, Thijs Römer

TULA: THE REVOLT (2013) DIR Jeroen Leinders SCR Jeroen Leinders, Curtis Holt Hawkins CAM Dolph Van Stapele MUS Guy Farley ED Herman P. Koerts CAST Danny Glover, Obi Abili, Jeroen Krabbé, Jeroen Willems, Derek de Lint (Baron van Westerholt), Natalie Simpson, Paul Bazely

MIDDEN IN DE WINTERNACHT, a.k.a. A CHRISTMOOSE STORY (2013) DIR Lourens Blok PROD Joost de Vries, Eva Eisenloeffel, Leontine Petit SCR Daan Bakker, Marco van Geffen (novel by Andreas Steinhöfel) CAM Philip van Volsem MUS Jorrit Kleijnen, Alexander Reumers ED Annelies van Woerden CAST Dennis Reinsma, Dana Goldberg, Jelka van Houten, Arjan Ederveen, Derek de Lint (Santa Claus), Carla Hardy, Jeroen van Koningsbrugge (voice only)

GOOISCHE VROUWEN II (2014) DIR Will Koopman PROD John de Mol SCR Frank Houtappels CAM Tom Erisman ED Sandor Soeteman CAST Linda de Mol, Tjitske Redinga, Lies Visschedijk, Susan Visser, Peter Paul Muller, Derek de Lint (Doctor Rossi), Alex Klaasen

MICHIEL DE RUYTER, a.k.a. ADMIRAL (2015) DIR Roel René PROD Klaas de Jong SCR Lars Boom, Alex van Galen CAM Roel Reiné MUS Trevor Morris ED Radu Ion CAST Charles Dance, Ruther Hauer, Arrélie Meriel, Daniel Brocklbank, Ella-June Henrard, Frank Lammers, Derek de Lint (Kievit), Filip Peeters, Gene Bervoets

CODE M (2015) DIR Dennis Bots PROD David-Jan Bijker, Elbe Stevens, Harro van Staverden SCR Tijs van Marle, Karin van Holst Pellekaan CAM Dennis Wielaert MUS Laurens Goedhart, Fons Merkies ED Elsbeth Kasteel CAST Senna Borsato, Nina Wyss, Joes Brauers, Derek de Lint (Grandpa Ber), Peter Paul Muller, Raymond Thiry

FAMILIEWEEKEND (2016) DIR Pieter van Rijn PROD Maarten Swart SCR Melle Runderkamp, Luuk van Bemmelen CAM Piotr Kukla MUS Joris Oonk, Chrisnanne Wiegel, Melcher Meirmans ED Michiel Reichwein CAST Jelka van Houten, Cynthia Abma, Dirk Zeelenberg, Derek de Lint (Pieter), Jennifer Hoffman, Beppie Melissen, John Buijsman, Wesley van Galen, Tim Haars, Sanne Langelaar

THE WHITE KING (2016) DIR Alex Helfrecht, Jörg Tittel PROD Alex Helfrecht, Jörg Tittel, Philip Munger, Teun Hilte SCR Jörg Tittel, Alex Helfrecht (novel by György Dragomán) CAM René Richter MUS Joanna Bruzdowicz ED Peter R. Adam CAST Jonathan Pryce, Olivia Williams, Ólafur Darri Ólafsson, Fiona Shaw, Agyness Deyn, Greta Scacchi, Jeffrey Postlethwaite, Matthew Postlethwaite, Derek de Lint (Silver Hair)

TV MOVIES

THE GREAT ESCAPE II: THE UNTOLD STORY (1988) DIR Jud Taylor, Paul Wendkos PROD Jud Taylor TELEPLAY Walter Halsey Davis CAM Dietrich Lohman MUS Johnny Mandel ED Christopher Cooke, Paul LaMastra CAST Christopher Reeve, Judd Hirsch, Ian McShane, Tony Denison, Charles Haid, Michael Nader, Derek de Lint (Dr. Thost), Donald Pleasence, Christopher Neame

THE ENDLESS GAME (1989) DIR – SCR Bryan Forbes PROD Fernando Ghia CAM Brian Tufano MUS Ennio Morricone ED Phillip Shaw CAST Albert Finney, George Segal, Ian Holm, Kristin Scott Thomas, Derek de Lint (Abramov), Anthony Quayle

BURNING BRIDGES (1990) DIR Sheldon Larry PROD Bruce Johnson TELEPLAY Judith Paige Mitchell CAM Ron Orieux MUS W.G. Snuffy Walden, Bennett Salvay ED Christopher Nelson CAST Meredith Baxter, Nick Mancuso, Derek de Lint (Gus Morgan), Lois Chiles, Elizabeth Wilson, Cristine Rose,

MOUNTAIN OF DIAMONDS (1991) DIR Jeannot Szwarc PROD Gerald Morin TELEPLAY Sergio Donati (novel by Wilbur Smith) CAM Sergio D’Offizi MUS Michel Legrand ED Mario Morra CAST Isabelle Gélinas, Derek de Lint (Lothar de la Rey), Jason Connery, John Savage, Jean-Pierre Cassel, Marina Vlady, Ernest Borgnine, Frank Finlay, Valerie Perrine

REMEMBER (1993) DIR John Herzfeld PROD Frederick Muller TELEPLAY John Herzfeld, Shelley List, Jonathan Estrin, Matt Crowley (novel by Barbara Taylor Bradford CAM Steven Shaw MUS David Shire ED Robert Florio, Dayle Mustain CAST Donna Mills, Stephen Collins, Derek de Lint (Charles Deveraux), Ian Richardson, Gail Strickland, Cathy Tyson, Claire Bloom, John Herzfeld, Herman Brood

POINTMAN (1994) DIR Robert Ellis Miller TELEPLAY Stuart Hattman, Maurice Hurley, Eric Wise CAM Tommy Lohman MUS Paul Haslinger ED John F. Burnett, Richard Leeman CAST Jack Scalia, Roxann Dawson, Bruce A. Young, Fritz Weaver, Brent Jennings, Annie Corley, Brandon Smith, Derek de Lint (Jacob Razak)

THE LITTLE RIDERS (1996) DIR Kevin Connnor PROD David Anderson TELEPLAY Gerald Di Pego CAM Willy Kurant MUS Lee Holdridge ED Barry Peters CAST Paul Scofield, Noley Thornton, Rosemary Harris, Malcolm McDowell, Benedick Blythe, Derek de Lint (Dirk Petersen), Renée Soutendijk