比利時僵局難解 掀薯條革命不行房 - 聯合新聞網
249天無政府 比利時掀裸體集會、薯條革命 - NOWnews"
近來 比利時人只有地利 沒有天時
都在André Delvaux by Frédéric Sojcher, 安德烈‧德爾沃︰歐洲電影備忘錄... 展露
然而 他們是優秀的民族 懂得電影是團隊 必須設學校 必須懂得義利之分
有些導演在生活和電影裡隻談他們自己。自傳電影很沉悶，自命不凡，帶著難以忍受的無趣。這個星球上的六十億人都差不多，不可能用這些東西來吸引我們。作為 觀眾，我們關心的是作品，而不是創作的人……我們不能夠區分寫作的作家、拍攝的導演和銀幕上看到的演員。然而，我們在實際上是遠離自傳體的。我們自以為知 道誰是伍迪‧艾倫，但事實上，伍迪‧艾倫的敘述世界卻處於持續不斷的（再）創作之中。
Cineast André Delvaux and writer Suzanne Lilar in the 1980s Born 21 March 1926(1926-03-21)
Heverlee, Belgium Died 4 October 2002 (aged 76)
Valencia, Spain Nationality Belgium
- 1989 1001 films
- 1988 L'Oeuvre au noir (after Marguerite Yourcenar's book). Entered into the 1988 Cannes Film Festival.
- 1985 BABEL OPERA, ou la répétition de Don Juan de Wolfgang Amadeus Mozart
- 1983 Benvenuta (with Vittorio Gassman, Fanny Ardant, Françoise Fabian and Mathieu Carrière) (after Suzanne Lilar's book La Confession Anonyme)
- 1980 To Woody Allen, from Europe with love
- 1979 Een vrouw tussen hond en wolf (Femme entre chien et loup)
- 1975 Met Dieric Bouts (Avec Dieric Bouts)
- 1973 Belle
- 1971 Rendez-vous à Bray (after Julien Gracq's novel, Le roi Cophetua)
- 1969 Interprètes
- 1968 Un soir un train (with Yves Montand, Anouk Aimée, François Beukelaers) (after Johan Daisne's book De trein der traagheid)
- 1966 Derrière l'écran (Achter het scherm)
- 1965 De Man die zijn haar kort liet knippen (L'homme au crâne rasé) after Johan Daisne's book
- 1964 Cinéma polonais
- 1962 Le Temps des écoliers
- 1962 Jean Rouch
- 1962 Fellini
- 1960 Yves boit du lait
- 1959 La planète fauve
- 1959 Two summer days
- 1958 Cinéma, bonjour!
- 1956 Nous étions treize
- 1953 Forges
- Agel H. & J. Marty. 1996. André Delvaux : de l'inquiétante étrangeté à l'itinéraire initiatique. Lausanne : Age d'homme,ISBN 2825107379 9782825107379
- Colville, G.M.M. 2006. Between surrealism and magic realism: the early feature films of André Delvaux. Yale French Studies 109: 115-128.
- Mosley, P. 1994. From Book to Film: André Delvaux's alchemy of the image. The French Review 67: 813-823.
- Nysenhole, A. (Ed.). 1985. André Delvaux ou les visages de l'imaginaire. Editions de l'Université de Bruxelles, 295 pp.
- André Delvaux by Henri Agel, Joseph Marty
- The Man Who Had His Hair Cut Short
- New York Times: André Delvaux
- Obituary in the Independent
- Dream is a second life
- André Delvaux on imdb
- Article on André Delvaux in la Libre Belgique (French)
FILM; 'Toto the Hero' Puts a Belgian Director on the Map
By PAUL L. MONTGOMERY
Published: March 1, 1992
BRUSSELS— The telephone directory for this city of just under a million people lists 165 film production companies. A further 102 individuals, perhaps too shy to incorporate, appear under the rubric "Cineaste." Would-be film makers roam the Rue Royale, the dowdy main drag of Belgium's movie industry, with computer printouts of their ideas. And each year, Belgium's state-subsidized film schools turn out another crowd of hopefuls.
Yet so reduced is Belgium's film industry that when a Belgian strikes a hit, as Jaco Van Dormael has done with "Toto the Hero," it is almost as if a fellow worker has won the lottery. A better comparison, one Belgian writer said, might be an escape from Devil's Island that lends hope to everyone still behind bars.
Mr. Van Dormael (pronounced van dorr-MAHL), who spent 10 years struggling in Brussels, knows the reality. Accepting one of his cluster of recent awards, he said he hoped the success of "Toto" would not lead people to think it is easy to make films in Belgium, because it definitely isn't. In recent decades the best-known Belgian directors have been Andre Delvaux and Harry Kumel, and theirs are hardly household names.
"Toto," a sweet fantasy about an old man's memories, was shown in September at the New York Film Festival and is to begin its commercial run in New York on Friday at the Lincoln Plaza. Even before its commercial showing in America, "Toto" has probably earned more than any other Belgian film. According to Variety, in Brussels alone it earned $513,364 last year. This was half the take of "Terminator 2" here, but still, "Toto" was the only non-American film in the Top 10. When "Toto" was shown at the New York Film Festival, Vincent Canby of The Times wrote that Mr. Van Dormael was "a bright new talent to celebrate."
Despite his success, Mr. Van Dormael, 35 years old, does not seem to have abandoned the habits of an unknown. He wears baggy jeans and an unraveling red sweater, and by all accounts he has not forgotten the friends of his hungry days. He still lives in a working-class neighborhood near the Rue Royale, squeezed between the red-light district and the Turkish quarter. He is married and has two daughters, Alice, 4, and Juliette, 1. Iconographers will note that the sister in the film, played by Sandrine Blancke, is named Alice and that the real Alice Van Dormael appears in a nonspeaking part.
Mr. Van Dormael's father was a buyer in Europe for Sears, Roebuck, snapping up boxcar loads of socks to sell by mail order in America. The film maker was born in Brussels but spent his early years in Germany. Like many educated Belgians, he is fluent in four languages -- French, Dutch, English and German. "You can't take a train in this country without speaking three languages," he says.
After high school he was a promising film student, studying cinematography in Paris and at the Higher Institute for Theater and Cinema Arts in Brussels. He credits his teacher there, the Czech screenwriter Frank Daniel, for showing him a technique of preparing with notebooks, scripts and index cards.
Mr. Van Dormael won prizes with his short student film in 1981 and made 10 others in the ensuing years, "trying to be really different with each one, and always making the same," he says. At the same time, he had another career as a clown for children's shows, and in "Toto" more than one critic has found a connection.
"Toto" started out in his notebooks 10 years ago as a film about children and then expanded. "In fact, there is no real idea about 'Toto,' " Mr. Van Dormael says. "The structure came later. It was only a thought about life: we become what we never thought we would become, and we end in a way we never thought we would end. The important thing is that Toto keeps his love."
About 1985 the Belgian producers Pierre Drouot and Dany Geys of Iblis Films took up Mr. Van Dormael's project. It took them five years to raise the $3.5 million budget, minuscule by American standards but huge in Belgium for anyone, much less a first-time director. In the end, the financing, in the form of loans or advances on box-office receipts, was all public money -- an increasingly common procedure in a Europe trying to stave off market domination by Hollywood. Among the contributors were the European Community, the Council of Europe, the Flemish- and French-language cultural authorities of Belgium, and state television in Belgium, France and Germany.
The assemblage of such a complex package left Mr. Van Dormael plenty of time for rewriting, and he estimates he went through eight or nine versions of the script. "Even when I was shooting," Mr. Van Dormael recalls, "sometimes I would catch myself thinking, 'This scene could use some more work.'
"The film is like Brussels," he adds. "It's not one style; it's every style. The identity of Belgium is having no identity. It's being a little bit of everything."
When released last year, the film seemed to touch everyone who saw it, in various ways. "In the United States and England, there was more laughing," Mr. Van Dormael said. "In Japan and Germany, they were more serious. In France, I think they laughed and then cried." The film maker spent nine months traveling to the openings. "It was like learning a new job," he said. "At the beginning I counted every interview I gave, and after 350 I stopped counting."
In the cold rain of a Brussels winter, Mr. Van Dormael has gone back to work. He has been offered many projects but says he wants to develop his own ideas. In the mornings he thinks about his writing, and for three hours each afternoon, five days a week, he sits down at his typewriter, steadily producing three pages a session. On Fridays he shows the output to his wife, Laurette; his former clown partner, Didier De Neck (who appears in "Toto"), and a screenwriter friend, Pascal Lonhay, and they discuss improvements.
"The most difficult thing to get is a good story, and that will be as hard for the second film as for the first," Mr. Van Dormael says. "The only reason to shoot a film is because there is a story that needs to be told."
Photo: Jaco Van Dormael -- "The film is like Brussels," says the 35-year-old film maker. "It's not one style; it's every style." (Triton Pictures)