By the time of his last American production, 2000’s deliciously kinky invisible-man story, Hollow Man, Verhoeven also realized he’d become typecast as “a science-fiction-action director, expensive and not very reliable.” Yet, to assemble a film of Black Book’s scale — small by Hollywood standards but enormous by European ones — without the backing of an American studio was no mean feat. The film went into production in 2005 with an elaborate co-production deal that involved financing from Dutch, Belgian, German and British sources, plus a variety of tax-credit deals and other incentives that Verhoeven describes as “a financial mosaic that at every moment seems about to fall apart.” But Black Bookheld together and, even before it opens in North America, has already been a massive hit in Holland and performed strongly in other international territories.
That doesn’t mean, though, that Verhoeven, who continues to reside in Los Angeles, has turned his back on America. “I never changed location,” he says with a smile. “I just took a sabbatical.” His next movie, The Winter Queen, which he hopes to shoot this summer, will be filmed in English, though the financing was again assembled independently. “It’s from a Russian novel [Azazel, by Boris Akunin] that my daughter discovered — a detective story that’s pretty edgy but also quite charming, so it’s really a step away from the more realistic darkness of this movie and toward another world.” Perhaps by then, Hollywood will have picked up on the fact that Paul Verhoeven is anything but a one-trick pony. “At least,” he reasons, “it’s good for them to know I can also work for $20 million and direct actors.”
Black Book opens Wednesday, April 4, in Los Angeles theaters.
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