Going through the archives. Shot sometime in 2004. I think.
In Rashomon, especially the wonderful camera moves in the second part as the woman tells her story and is sitting there and the camera is dwelling on her and goes back around her and the man, her husband, is continuously in a steady shot, and she’s always moving like this and like that with the knife. It’s so magnificent, some of the camera moves are so precise and so psychological, you know?
He’s emphasizing the character of the woman in such a magnificent way, slowly building up that she might have killed him. Which we don’t know, of course.
I mean it’s superb filmmaking and there’s nearly no example in the whole film industry where you can point out something so splendid.
– Paul Verhoeven
My dearest Edwina,
Tonight, as you and Nathan slumber, my heart is filled with anguish. I hope that you will both understand and forgive me for what I have decided I must do. By the time you read this, I will be gone.
I will never be the man that you want me to be, the husband and father that you and Nathan deserve.
Maybe it’s my upbringing. Maybe it’s just that my genes got screwed up. I don’t know. But the events of the last day have showed amply that I don’t have the strength of character to raise up a family in a manner befitting a responsible adult.
I say all this to my shame.
I will love you always, truly and deeply. But I fear that if I stay, I would only bring bad trouble on the heads of you and Nathan Jr. I feel this thunder gathering even now. If I leave, hopefully, it will leave with me.
I cannot tarry. Better I should go, send you money, and let you curse my name.
Your loving –