Part of what persuaded him to shift his focus from computer-based creations to camera-based creations was the opportunity to collaborate with like-minded people:
"I loved it because when you are an artist you're mostly sitting in your studio alone or behind a computer or sketching or drawing or whatever, and filmmaking, of course, is working with other people. And I really loved that aspect because I get always really inspired by people you're working with."
He's not someone who has surrounded himself with regular collaborators, preferring instead to explore new possibilities and ensure he has the right person for each role in each project.
The early phase of his film-making career came to an abrupt end when he ran out of money. The grants available to him during his student days had allowed him to freely experiment but he'd never considered the business dimension so once the funds ended, so did his ability to get anything made.
Through his father, he secured a job at a residential hospital for severely disabled patients. He learned how to relate to residents with multiple disabilities and found his year there very rewarding. But he came away from it with a determination to be adopt a more business-minded approach to filmmaking.
He began to work with some of the more commercial artists in the Netherlands, and - on the back of this work - he was signed by Czar, one of the leading film production companies in that part of Europe.
His career thrived and he became a popular director in the Netherlands and beyond. He's always been keen to make his mark in London, and the recent approach from Helen Hadfield came at just the right moment for him.
He liked what she had to say because it was beyond mere enthusiasm - he says it's easy to flatter a director by telling them their work is 'cool' but he's always keen to find out exactly what it is that someone likes, and Hadfield had clearly studied his films carefully.