Richard Olivier

Richard Olivier has written several plays which were shown on the stage and adapted for TV.

He co-signed, with the cartoonist Jean-Louis Lejeune, a political comic-strip “Amin Dada 1st Emperor of Belgium”, several episodes of which were published in the Belgian weekly “Pourquoi pas,” and censured after a couple of weeks.

He also published, in co-operation with 63 authors, an illustrated book entitled “A la recherche du cinema perdu” (In search of lost movie theatres), edited on the occasion of the centenary of movie pictures.

He has written tens of articles in French and published numerous Picturesin Belgian and foreign newspapers and has participated in collective works, such as

“Belgique, toujours grande et belle” (Edition Complexe)
“A chacun son cinéma” (Edition Luc Pire)
“Nous n’irons plus au cinéma” (Revue de l’Institut de Sociologie de l’Université Libre de Bruxelles)
“L’entre haine et trouille” (Edition ip)
as well as several small volumes
“Je suis Cinéaste” et “Le pays qui a mal aux dents” (Editions de l’heure à Charleroi)
He has won several awards for literary novels published in weekly and monthly reviews, some of which were read on the radio. He is also the author of numerous scenarios written for TV and young people.

As a filmmaker he has contributed many episodes to the famous programme “Strip-tease” and has had the honour of making the last one, entitled, “Le Der des Der”.

As a fiercely independent filmmaker, he also made several short and medium-length films for TV and cinema.

Interventionist, musketeer and swashbuckler, free electron, answerable to no-one, Richard Olivier is above all a maker of documentary films.

Most of these documents have been selected to participate in film festivals abroad and have been broadcast on TV in France and in some cases, globally.

Richard Olivier’s motto: “To shoot films in order to avoid being shot”.

“I’m not particularly fond of the motion picture world. Its dough, its hullabaloo, its commercialised stars, its lavish cocktail parties, its tuxedoed clones, its triumphant marketing, its stressed press, its Oscarised awards, its outdated fictions sometimes bewilder and amuse me, but rather depress me. I’m only really interested in motion pictures which try and film the truth, often designated in short as “real life documentaries” for lack of a more appropriate term.

Richard Olivier

The end

Richard Olivier & 13' — 1982

The King's Jesters

Richard Olivier & 57' — 1993

Esther forever

Richard Olivier & 88' — 2007
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