What made you getting hooked and wanting to be in film business? Any special trigger moment or natural evolution of interest?

For me it was more a natural evolution of interest. When I was twelve I created my own tv-show imitations with a handycam, together with my older brother. And I liked to take the camera with me during holidays. When I finished school, I knew I’d like to do something with film, but I didn’t know the specific direction yet. I went to the Open Studio film school in Amsterdam for one year. There I discovered that I’d love to become a director. So I went to the Utrecht School of the Arts (HKU) for four years. I graduated in 2007.

You started with doing commercials, then short movies, then children films. Do you think it´s classic and the best way for film maker, cut his teeth on commercials, earn some quick bucks and then move forward to serious art?

No, it was not in this order. I did commercials and short movies (which were children movies) at the same time, in the same period. I think it’s a good way to get more experience, and - of course – earn some money with commercials. Now I’m more focused on films and series. And sometimes I still do commercials, not only for money but also because I like the variation of doing large projects and small projects.

Why did you choose films for children? Do you think it´s easier or you felt you incline more to this rather than to drama, action or sci -fi? Is it easier to obtain money for children´s film than for adults feature film?

I’d love to work with children. And I’m also fascinated by the topics of coming of age films. It was a natural evolution of interest that I started to write and direct films for children.
I don’t think it’s easier, maybe it’s even harder to make a good story for a younger audience. And if it’s easier to obtain money? I don’t know. I don’t think so.
Your TV film Alles Mag won numerous accolades around the world. What was so special at it, the story, way you made that or some kind of message it had?

I think one of the reasons that the film is so well received is the pure, authentic style of the film. That’s what people are telling me. It’s close to reality and a lot of viewers can identify with the characters in the film. There are multiple topics in the film, which are universal.

Do you always try to put into your films something educational, something like your personal hidden message or just do film with good story without any side preaching?

I don’t like to be too moralistic, but I think there is always something educational in my films. Not only for children, but also for their parents. I hope that I can inspire people and let them think. But despite the serious topics my films are not heavy. I’d like to tell stories with a light tone of voice.

Why did you choose a book by Hector Malot for your “ Koningsday” film? You read it and said “brilliant story” or someone told you,” you may like it and film it”?
No, that is a mistake of the festival organization. I’m director of “Nobody’s Boy”, a tv series based on the famous old book of Hector Malot. It’s a beautiful story about a young boy, Remi, who is traveling around and looking for his family.

The story of “Koningsdag” is a original script, written by me and Maarten van Voornveld.

You are said to be independent screenwriter and director. In which way are you independent, that you can do anything you like, no given scripts, or that you have some access to fund and hence don´t need big studio to back you up and control you?

It’s not my own description. I think the organizers of the festivals call me independent.
I think I’m independent sometimes, by creating my own scripts. But I’m also dependent of funding, production companies, broadcasters, etc.

Do you intend to have always complete control over your work or if someone offers you a well paid project with limited say in it, would you still do it since you like the story despite having to bite the bullet?

I need to make films with stories close to my heart. If I would make a film just for the money, without feeling ‘connected’, I would be very unhappy.
Commercials are different. Sometimes there are projects with limited say. But that doesn’t have to be a problem. But still I want to add something of my own.

How is film funded in Holland, some ministry or state grants or only some regional funds?:What is a successful film in term of cinema viewers in Holland?

That’s a hard question. It’s not my cup of tea. You could better ask it to the producers I’m working with. J

How big is the platform for independent film in your country, any festivals, workshops and market for that?

I think there’s quite a big platform in our country, but of course it’s limited, but it’s a small country and our language is not universal. But I’m glad that our films – especially children films – are getting more and more successful around the world.

Do you have ultimate goal you are slowly going towards or you just take it as it comes and don´t dwell on doing children films whole of your career?
My new goal is to make my first feature film, based on a Dutch children book. I’m working on it now. Hopefully it will be in cinemas in 2018.
And I’m also working on a tv series for adults. I love to make children films and series, but I also want to expand myself.
Paul Verhoven or Jeroem Krabbé succeeded in Hollywood.Do you look at them as your models you would wish to follow?
They are great! But I’m not dreaming about Hollywood yet. I prefer the European cinema more.