Turkish Delight - crew, film crew
The entire team, the film crew of the film "Turkish Delight"
Turks Fruit (1973)
Timing:
1:48 (108 min)
6.914/10
175
175
7.439/10
6200
6200
7.1/10
13000
13000
Film crew
Director
Producer
Casting
Hans Kemna
Casting
Editor
Jan Bosdriesz
Editor
Costume Design
Mia Houweling
Costume Design
Production Design
Roland de Groot
Production Design
Jan André
Production Design
Makeup Artist
Bobby Eerhart
Makeup Artist
Set Dresser
Jean Goerdz
Set Dresser
Director of Photography
Production Manager
Mia van 't Hof
Production Manager
Screenplay
Gerard Soeteman
Screenplay
Novel
Sound Designer
Ad Roest
Sound Designer
Assistant Director
Music
Rogier van Otterloo
Music
Sound Effects
Mel Kutbay
Sound Effects
Hans-Walter Kramski
Sound Effects
Ad Roest
Sound Effects
Wardrobe Master
Marjo de Vries
Wardrobe Master
What's left behind the scenes
- A more accurate translation of the title is "Turkish Delight".
- Director Paul Verhoeven and cinematographer Jan de Bont had just watched William Friedkin's thriller *The French Connection* (1971) and unanimously decided that their future film would ideally focus on realism with natural lighting, handheld camera work, and so on. However, after filming began, Verhoeven "backed down" and decided to return to shooting with stationary cameras and artificial lighting, as in his own 1971 film *Diary of a Hooker*. De Bont flatly refused to follow Verhoeven's instructions and shot the first scenes of the film as they had originally intended. This led to a quarrel between Verhoeven and de Bont, and three days after filming began, Verhoeven almost fired the cinematographer. However, seeing the first results of the shooting, he found the courage to admit that he was not right, but de Bont was.
- A more accurate translation of the title is “Turkish Delights”.
- Director Paul Verhoeven and cinematographer Jan de Bont had just watched William Friedkin’s thriller “The French Connection” (1971) and unanimously decided that for their future film, an emphasis on realism with natural lighting, handheld camera work, etc., would be ideal. However, after the start of filming, Verhoeven “backed down” and decided to return to shooting with stationary cameras and artificial lighting, as in his own 1971 film “Diary of a Hooker.” De Bont categorically refused to follow Verhoeven’s instructions and shot the first scenes of the film as they had originally envisioned. This led to a quarrel between Verhoeven and de Bont, and three days after the start of filming, Verhoeven almost fired the cinematographer. However, having seen the first results of the shooting, he found the courage to admit that he was wrong and that de Bont was right.
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