12 - Rising Star
Expensive
Animated film production is an expensive business. Making puppet films is even more expensive. Fortunately, Geesink has a department specialising in live-action: Starfilm. Most orders are cinema commercials and TV commercials for countries where commercial TV is an emerging market, in addition to cinema advertising.
Because of the faster production time and thus lower costs, the share in feature film commercials is increasing significantly. The animation department provides animated parts for numerous feature film productions. It is often limited to a moving title or packaging that opens up. Yet Joop Geesink has a unique selling point with this combination. Especially since everything is made in-house. A great rivalry is developing between the live-action department and the puppet film studio. Live-action filmmakers find puppet filmmaking childish and, conversely, animation filmmakers do not consider feature filmmaking a complete art form.
The fact remains that motion picture commissions provide ever-increasing turnover and animation is a calling card that Geesink can use to get in with clients. As soon as a client hears how expensive puppet film production is, Joop, with his quick-witted mind, has an alternative plan ready and offers a live-action version. In doing so, he retains the client.
Joop Geesink's name and fame spread worldwide. He has long since ceased to be a ‘rising star’ in the advertising world. He is shooting up like a comet.
Awards and prices
Despite the hefty production price customers pay for a puppet film, this medium has the great advantage of distinctiveness. Puppet films have enormous appeal to audiences and the built-in advertising message is swallowed. Dollywood is creating an international furore with its puppet films. Major Dutch clients include Philips, for which at least eight films of at least 10 minutes are made and the Nederlands Zuivel Bureau (NZB) with many Dutchy films. Geesink takes around 80 international film awards for the puppet films. In countries such as Germany, Italy the United States and even the Middle East, the puppets from Amsterdam are used for advertising.The film awards won are a nice appreciation and arouse the curiosity of new potential advertisers. Joop is tremendously in his element when he comes up with and sells ideas. He only needs half a word from a client and he draws a stack of sketches. Sometimes he shoots so far ahead in his design drive that he forgets what the advertising message should be. Employees tell when he comes back with an assignment sometimes he doesn't remember exactly what was discussed. It is the combination of his unstoppable imagination, which goes even faster after a few glasses of whisky. The creative chaos sometimes provokes indignation from clients who see different results coming than promised. Once again, Geesink's quick creative mind then offers a solution.
No Man's Land
For modern readers, it is interesting to note that in earlier times, making an advertising film was often outside the scope of the traditional advertising agency. In the 1940s and 1950s, advertising agencies mainly specialised in print ads and posters. Of course, during this period, several advertising agencies were exploiting this new medium of cinema film. Yet the cinema commercial falls into a piece of ‘no man's land’. For a long time, no organised dicipline makes cinema advertising his/her speciality. This is where Joop Geesink hooks in. Nowadays, at large advertisers, all media are coordinated and specialised agencies exist for this purpose.
Work procedure
Between the ‘45s and ’60s, Joop Geesink often devised droll little films, which could be used in the cinema as pre-films, but they were placed in the regular advertising block. Countless short films are made at Disney Studios and Warner Brothers that are similarly deployed as pre-shows.
Joop's modus operandi is to seek a sponsor for the realisation of this funny little story. When an intended sponsor is not interested, Joop modifies the end of his proposal and takes it to a competitor to try there. This often results in success. Although selling his film ideas naturally takes effort, Joop Geesink has the advantage of his flair, his infectious enthusiasm, which he combines with a lightning-fast way of switching gears. When the client is enthusiastic, it is a challenge for Joop Geesink to convince the advertiser to make a sequel in this concept. And another one. And one more. He sees this as a sport.
In the late 1950s, Geesink Studios establishes its own advertising agency. This one not only devises (puppet) films, but offers a full package of advertising work. From printing to merchandising. A parallel development is that the traditional advertising agencies now also recognise that cinema and TV advertising are part of their services. A new situation is emerging. Dollywood, besides being a performer as a film studio, is now also a creator of advertising concepts. This makes Dollywood a competitor for its own customers. This not infrequently creates a tense situation between the client as an advertising agency and Geesink, which also operated as an advertising agency itself. Multiple clients look for studios that can make animation and are non-competitive. This is to the detriment of Dollywood's clients.
Advertising trade magazine Ariadne reports several film awards won by Dollywood. (1956).
For Mackeson stout beer, Joop Geesink's Dollywood made dozens of commercials.
Looking for more success
The majority of clients will look back with satisfaction on the commissions given to Geesink. His films make a huge impact on audiences and sales of the advertised product increase. Reason for Joop to build on a successful campaign. He is not only the film producer, but also the advertising agency that develops the concepts. Example of a successful series of ‘Mackeson’ commercials. Dozens of sports activities using these beer bottles are filmed.
About 60 half- or full-minute films make beer bottles come to life. Fixed fact: one of them is a label-less ‘loser’. As soon as a watching beer bottle exclaims its brand name, the suckling turns into a beer bottle with super power. The popularity of this series was evident right down to the football stadiums in England. Whenever a team failed to perform, supporters would shout ‘Mackeson!’. Over the course of this campaign, sales of the relevant products flew up. In the 1950s and 1960s, an advertising film is used for much longer than today. Some films are shown for months at a time.
In the United States, Beechnut and Ballantine and examples of repeated success. A major advantage of series is that many development costs have already been incurred and the client knows what to expect.
In addition to short advertising productions, Philips remains a regular client with commissions for both short productions and longer prestige films, such as Prince Electron (1955).
The studio is constantly looking for new employees. Both creative staff and administrative staff. By 1955, the studio has 150 staff members.
Prince Electron (1955)
Dollywood is gearing up for TV advertising in the future. (1959)
Joop Geesink appears regularly in national magazines (1961).
Joop Geesink checks a puppet film set (1960)
ZKH Prince Bernhard is shown around Dollywood by Joop Geesink (1962)
Source:: 1962-Prins-Bernhard-bij-Dollywood-Studio's-Joop-Geesink,-Noord-Hollands-Archief,-collectie-Fotopersbureau-De-Boer,-nr-NL-HlmNHA_1478_00466K00_07
It goes on and on
A positive boost is the release of The Traveling Tune (1961). This 10-minute Philips film is made in the so-called paperdoll technique under the direction of Max Keuris. The paper dolls by Jacques van de Boom and the animations by Günther Mandle generate rave reviews. New commissions for this technique follow.
With this technique, Joop Geesink finally has an alternative to the expensive puppet films. The design is simpler, recognisable and cheaper to realise.
The commitment to the Dutch film industry does not go unnoticed. In 1964, Joop Geesink received a ribbon in the Knight of the order of Oranje Nassau.
Another Philips jubilee film
Philips is still a loyal customer. Besides a few shorter films for the American market, among others, another Philips anniversary follows: 75 years. This jubilee is linked to the theme ‘music’, as Philips explicitly manifested itself as a producer of music carriers and players. The anniversary will be celebrated with a fantastic 10-minute puppet film production: Philips Cavalcade - 75 Years of Music (1966). In which design and dynamic animation have been taken to the extreme. It was released in 1966. It is the state of art of the time. Art director Max Keuris gets the creative lead, animation by Cor Icke.
Still from "Story of Light" (1954)
Still from "Light and Mankind" (1954)
Introducing ‘paperdoll technique’ : Joop Geesink works with dolls cut out of paper" (1961)
By way of demonstration, a portrait was made of Joop Geesink in the ‘paperdoll technique’. (1966)
Still from Philips Cavalcade - 75 years of music (1966)
Still from Philips Cavalcade - 75 years of music (1966)
TV Pirate
In the early 1960s, commercial television is emerging in Europe. France, Italy, Germany precede the Netherlands. Joop Geesink has already produced countless films for the United States and wants to capture TV advertising in his own country too. The Netherlands has its first ‘TV pirate’: the REM Island which broadcasts TV programmes with advertising. Joop Geesink is a big proponent of this concept as he sees a new distribution channel for his puppet films. In an interview, he says: ‘Let this channel come, I already have 4,000 films ready.’ He suggests that all previously made advertising films would be suitable for broadcasting. The TV channel targets the Dutch market, where commercial TV is banned. REM Island is able to exist thanks to a loophole in legislation. The TV station does not have a long life. It is operational from August to December 1964.
Geesink makes its name with the puppet films, but makes a profit with the ‘feature film’ commercials (live action). Unfortunately, the distinctiveness with the competition is not enough and slowly more and more customers disappear to the competition. Joop realises that he has to think of something else and come up with something totally new to guarantee his income.
In 1967, official advertising on Dutch TV is a reality. For the first day of broadcasting, 38 spots are scheduled, 12 of which come from the Geesink studios. Daily newspaper reviews these new commercials as if they were TV programmes. Geesink Studios gets good ratings. This leads to follow-up orders. A big competition emerges in providers making TV advertising films: feature film, cartoon and puppet film the quality of the competition varies, but Joop Geesink sees that besides making the ‘disposable’ films, he needs to develop something that stays, with which he also makes a piece of continuity. He once let slip in an interview that he is actually fed up with the puppets and wants to do something bigger. Whether that is so good for his patronage is the question.
Joop Geesink looks at the new build studio (1965)
Joop Geesink at his office (1965). Through the window, behind him the new construction of the new studio complex is visible. (1966)
Joop Geesink lays the first brick for new Geesink studios with daughter Louise Geesink (March 1965)
Royal visit
By the late 1950s, Joop Geesink has become not just a Famous Dutchman, he is really someone who has the image of a film magnate. Because of the huge sales he achieves abroad, a lot of foreign currency flows into the Netherlands, and the taxman also benefits. Especially for a country under reconstruction after a major war, this flow of money is welcome. Joop Geesink will receive the prestigious ‘Export Prize’ at least once, possibly several years.
The combination of this money generator and the appealing romantic atmosphere that always surrounds filmmakers ensures that members of the Royal House are happy to be shown around the studio. Prince Bernhard visited the studio in 1961 and will officially open the newly built studio in 1966. On other occasions, (Crown) Princess Beatrix and Prince Claus also visit.
Mega Studio
Filling the time needed to get on Dutch TV as well, Joop is developing new plans. He has seen Disney World in the United States. On that concept he broods on...
The studio on Duijvendrechtschekade has become a succession of separate buildings, interconnected by a tangle of corridors, extensions and canopies. Furthermore, the range of services has grown enormously and it is no longer representative of what the studio looks like today. Time for a new studio.
Full of pride, a modern and large studio is opened on W.J. Wenkenbachweg by Prince Bernhard in 1966. This opening is on 28 April, Joop's birthday. The studio is promoted in the press as the largest multi-media company in Europe. Truly anything can be made in this building!
Part of the old Dollywood studios in the foreground, the new complex in the background. (1966)
Brand-new Joop Geesink Studios (exterior) ‘The biggest studio in Europe’ - (1966)
Cinema newsreel about opening new Joop Geesink Studios - 1966.
Joop Geesink (L), Wim Geesink (M), ZKH Prins Bernhard (R)
Source: 1966-Prins-Bernhard-bij-Geesink-Artist,-Nationaal-Archief,-Fotocollectie-Elsevier,-nr-2.24.05
Several media outlets refer to Joop Geesink as ‘The Duivendrecht Disney’ - De Spiegel 1966. (The full article and translation can be read elsewhere on this website.)
Biggest plan ever
The creative ideas keep bubbling. Joop's biggest plan ever matured and took shape as early as 1962. From 1964, Joop Geesink makes his plans world-famous. He will set his sights on Holland Promenade. A theme park with sponsored pavilions.
Joop goes all in on the plan. Realising that the boom in puppet and cartoon films is transitory, he wants to have another financial backer ready.
The concept of the theme park, near Amsterdam, is to show all of the Netherlands at scale. Each ‘city’ within the park is sponsored by a commercial company. Some examples: near Rotterdam there will be an advertising pavilion by Shell-Oil. Near Amsterdam one from KLM, and near Gouda one promoting Dutch (Gouda) cheese. Educational and commercial together. Nicer than the culturally superficial Disney World (1955), Joop thinks, because Disney only offers entertainment.
The park should also become a big customer of its own film studios. Therefore, Joop Geesink conceives that tourists should also be wowed with multi-media effects. This park would be an ongoing source for new films to be shown on site, as well as derivative. For this purpose, Geesink has started separate companies: Joop Geesink Special Projects and Geesink Artists N.V. He is also focusing on developing other theme parks and projects at home and abroad. Yet another division of his holding company is going to focus of promoting the mascot that Holland Promenade is to have: Rick the Frog.
A huge and therefore expensive model is built of the park in which all sorts of things move and ride. At the opening of the new studio, the scale model of Holland Promenade gets a permanent presentation space and the press floods in. However, the press is negative. It is portrayed Calvinistically as an ‘amusement park’.
But ....
Housing for the park cannot be obtained because of public participation procedures and sponsors drop out. It does not get off the ground.
Foreign park projects also stall for various reasons. Almost two million guilders disappear into the dustbin.
The puppet film division of Joop Geesink Studios has to do without Joop's intensive and stimulating guidance. Competition in the film industry rushes in on all sides.
The Geesink empire falters.
Joop Geesink had ambitions for a theme park ‘Holland Promenade’. Weekly magazine ‘Revue’ is positive. (1966)
Bankruptcy
The new and large studio brings with it serious liquidity problems. Where before everything had to be bigger and prettier, now cuts are being made on all sides. First in production costs. Films have to be made cheaper, simpler. Then dozens of employees are sacked. Although Joop has never personally thanked anyone for anything, this hurts him. Big dark clouds over both Dollywood, Starfilm and Geesink Artists. Commercial television in the Netherlands did not yield the returns that had been expected either. From 1967, advertising is very limited on one Dutch TV channel.
Lack of financial continuity causes the death blow to Dollywood in 1971. The newspapers report Geesink's bankruptcy.
This obviously hurts the man behind the Duivendrecht-based Disney. But just before the studio closes for good, Joop Geesink allows himself to be interviewed and photographed. Amid his failed maquettes. A article from the PANORAMA paints a very different picture of the man who, until recently, would invariably be the successful businessman/film mogul.
Photo from the Panorama (week 39) 1971.
National daily, The Parool, reports that the Dollywood Dream is over. (28-08-1971)
Redempting angel
All woes notwithstanding, Philips remains loyal as a customer and now once again serves as a redempting angel. Behind the scenes, discussions are feverish. It is not only Joop Geesink who is going through difficult times as a film producer. Colleague Marten Toonder floats almost entirely on income from comic book sales. A new consortium largely financed by the Philips Pension Fund emerges. The once-ambitious new studio complex is abandoned in 1971 to make room for Philips offices. Geesink's film production is housed in a dramatically downsized cast in the outbuildings of Nederhorst Castle in Nederhorst den Berg. This is also where Marten Toonder's cartoon studio is located. A partnership with Cinetone studios made a restart possible. Of the 150 puppet film employees, only 15 remain.
In contrast to the earlier partnership in 1941, this time Marten Toonder's name is at the front: Newspapers report the Toonder-Geesink productions. Remarkable detail is that the two gentlemen have never met in person since this time. Marten Toonder worked in Ireland and Joop Geesink worked from home.
Joop Geesink fired
Within the long line of resignations, one name stands out: Joop Geesink. He is no longer participating in this new format. On paper, he still has the names of Dollywood, Starfilm and Joop Geesink Special Projects, but these are empty firms. The new studio name is (therefore) not called Toonder-Joop Geesink studios but Toonder-Geesink studios.
Mainzelmännschen
Joop Geesink now works from home on J.J.Viottastraat in Amsterdam. He is assisted by his son Rob Lissaur, daughter Louise Geesink and two freelancers. Geesink conceived and designed several commercials, several of them in puppet animation. Realisation is now outsourced exclusively to the external production company.
German TV also has commercials and there the commercials are interconnected by cartoon characters named Mainzelmännchen. They have short adventures.
Loeki the Lion
Based on this image, Geesink develops a typically Dutch counterpart. Loeki the Lion is introduced to director Chris Smeeskens. He likes the idea and has the jokes delivered in series of 30. Each film lasts 4 seconds. The first broadcast was in 1972. Loeki de Leeuw is a free and witty interpretation of the lion found in the national coat of arms of the Netherlands. The introduction of this figure is a relief for many TV viewers. After a short time and several series further, Loeki has gained great popularity among the Dutch public and is allowed to announce and wave goodbye to all commercial breaks. For the Toonder-Geesink studio, Loeki is a godsend. The slimmed-down line-up gives the studio an important financial base here. Loeki grows into a series that will continue for years after Joop Geesink's death.
Toonder Studios located in Kasteel Nederhorst, Nederhorst den Berg (1971). The reception of both studios is also here.
The puppet film department of Geesink Studios located in the coach house right next to Nederhorst den Berg Castle (1971).
The first design of Loeki the Lion had a completely different look to the later Loeki (1972).
Loeki the Lion makes a come back (2020)
Loeki de Leeuw and Rosie on cover of TV magazine (1979)
Photo: Paul Levitton and published with his kind permission.
Film journalist Simon van Collem (1919 - 1989) speaks with Joop Geesink (1913 - 1984) about his work, life and future.
Lesson learned
Joop has learned from his Holland Promenade debacle. He will never invent or want to set up an amusement park again. He was ahead of his time 20 years earlier, in the early 1960s. We have arrived in the year 1983. The Netherlands then has several amusement parks. In Wassenaar, Duinrell advertises until today with a logo designed by Geesink: Rik the Frog.
Experience
Geesink did accumulate insight and knowledge about theme parks, which brought him to De Efteling. There, the management faces a practical problem. A new attraction is needed, but the previous attractions (Spookslot and Python) went way over budget. In order not to lose any visitors, something has to be done quickly and, moreover, financially sound. The plan for Carnival Festival is presented by Geesink. From A to Z a Geesink design. The design leads to strong objections from artistic director Anton Pieck. Geesink promises to deliver the attraction on time and not go a penny over budget. This is the deciding factor. Pieck gives his approval. Read the genesis of Joop Geesink's Carnival Festival on the Eftepedia here.
Joop Geesink was ill. He was diagnosed with (lung) cancer. But Joop Geesink did not know when to stop. He single-handedly built a model of the attraction. He continued to draw and design. But he didn't have much of a clue about the technology needed to drive visitors around in trolleys. That part was taken over by Efteling employees.
Race against the clock
Joop is working hard to realise the plan. He finds that his health is failing him. Joop has just passed 70 but is not taking it easy. His work rate is high.
Construction progresses.
Film journalist Simon van Collem ( 1919 - 1989) talks to Joop Geesink (1913 - 13 May 1984) about his work, life and future. This recording is from winter 1983/84, shortly before the opening of Joop Geesink's Carnival Festival at De Efteling. This TV interview would be Geesink's last appearance in front of the camera.
Coffice room
Joop Geesink is admitted to the UMC hospital. He is physically worn out. In the hospital's coffee room, Joop works out the final details of his attraction. Draws designs for new Loeki jokes and hands over the care of his company and brainchild Loeki to his daughter Louise.
The attraction's intended opening on 1 April did not happen.
On 13 May 1984, Joop Geesink died at the UMC at the age of 71. He did not live to see his Carnival Festival. Some time after his death, on 1 June 1984, widow Irene Geesink-Mitchell, officially opened the attraction.
Brother Wim Geesink remained commissioner of the Geesink companies until August 1984, when he stepped down. Wim Geesink served his brother and his work for 50 years.
Daughter Louise Geesink is now director of Dollywood and continues the Loeki de Leeuw project for years to come. In 2004, Loeki stops on TV. Not because of declining popularity. The airtime now devoted to Loeki can be sold more cheaply to the growing market of TV advertisers. Moreover, the STER saves all production costs this way. Loeki made TV advertising acceptable in the Netherlands, but that advertising also cost Loeki his job.
‘Whaddayougot!’
Loeki the Lion is added to the Joop Geesink Carnival by Louise Geesink. But as awareness among the youthful audience declines due to Loeki no longer appearing on TV, the Loeki puppets are later removed. This seems to be the final end of Joop Geesink's brainchild.
But nothing could be further from the truth. It will be until 2021 that, due to a confluence of circumstances, Loeki de Leeuw will make a one-off return to Dutch STER advertising. The success of this ‘one-off screening’ has been immense. Thanks to lobbying by the now very elderly former director of the STER, Mr Chris Smeekes, a signature campaign by a bunch of well-known radio presenters and the relentless efforts of Louise Geesink, Loeki the Lion returns as a regular character on Dutch television. Exactly as the director had pre-calculated: it costs a lot of money to make, but it more than pays for itself through better viewing figures. The only lines this lion utters on television are fitting: 'Whaddayougot!"
Portrait of Joop Geesink (1980)
Source: NoordHollands-Archief,Fotocollectie-NL-HlmNHA_1478_11244K00_02 (1980)
Joop Geesink, Press conference 1984 - Efteling
Joop Geesink, Press conference 1984 - Efteling
Joop Geesink Promenade 1984 - Efteling
By Arie den Draak written in 2013.
Fully rewritten in 2025
Sources:
- Louise Geesink - daughter of Joop Geesink.
- Multiple (former) Geesink employees, Cor Icke, Harry Tolsma, and others.
- Tjitte de Vries and Ati Mul for the book ‘Joop Geesink - puppet film producer’ (1984)
- EYE film, Amsterdam
- J.W. de Vries ‘The Toonder Animation Films’ (2012)