{"id":413608,"date":"2022-03-08T16:00:02","date_gmt":"2022-03-08T13:00:02","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/34-things-we-learned-from-paul-verhoevens-flesh-blood-commentary\/"},"modified":"2022-03-08T16:00:02","modified_gmt":"2022-03-08T13:00:02","slug":"34-things-we-learned-from-paul-verhoevens-flesh-blood-commentary","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/34-things-we-learned-from-paul-verhoevens-flesh-blood-commentary\/","title":{"rendered":"#34 Things We Learned from Paul Verhoeven&#8217;s &#8216;Flesh &#038; Blood&#8217; Commentary"},"content":{"rendered":"<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_84 counter-hierarchy ez-toc-counter ez-toc-custom ez-toc-container-direction\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<label for=\"ez-toc-cssicon-toggle-item-6a26b69c33e59\" class=\"ez-toc-cssicon-toggle-label\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #dd3333;color:#dd3333\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #dd3333;color:#dd3333\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/label><input type=\"checkbox\"  id=\"ez-toc-cssicon-toggle-item-6a26b69c33e59\" checked aria-label=\"Toggle\" \/><nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-1'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/buradabiliyorum.com\/en\/34-things-we-learned-from-paul-verhoevens-flesh-blood-commentary\/#%E2%80%9C34_Things_We_Learned_from_Paul_Verhoevens_%E2%80%98Flesh_Blood_Commentary%E2%80%9D\" >&#8220;34 Things We Learned from Paul Verhoeven&#8217;s &#8216;Flesh &#038; Blood&#8217; Commentary&#8221;<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/buradabiliyorum.com\/en\/34-things-we-learned-from-paul-verhoevens-flesh-blood-commentary\/#Flesh_Blood_1985\" >Flesh &amp; Blood (1985)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/buradabiliyorum.com\/en\/34-things-we-learned-from-paul-verhoevens-flesh-blood-commentary\/#Best_in_Context-Free_Commentary\" >Best in Context-Free Commentary<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/buradabiliyorum.com\/en\/34-things-we-learned-from-paul-verhoevens-flesh-blood-commentary\/#Final_Thoughts\" >Final Thoughts<\/a><\/li><\/ul><\/li><\/ul><\/li><\/ul><\/nav><\/div>\n<h1><span class=\"ez-toc-section\" id=\"%E2%80%9C34_Things_We_Learned_from_Paul_Verhoevens_%E2%80%98Flesh_Blood_Commentary%E2%80%9D\"><\/span>&#8220;34 Things We Learned from Paul Verhoeven&#8217;s &#8216;Flesh &#038; Blood&#8217; Commentary&#8221;<span class=\"ez-toc-section-end\"><\/span><\/h1>\n<pre><code>     &lt;span class=\"mx-1\"&gt;\u201cThey felt the violence that I display in this movie was too much for a normal audience.\u201d&lt;\/span&gt;\n&lt;\/p&gt;&lt;div id=\"\"&gt;\n\n\n\n                &lt;figure class=\"sf-entry-featured-<a href=\"https:\/\/buradabiliyorum.com\/en\/category\/social-mediaa\/\" data-internallinksmanager029f6b8e52c=\"1\" title=\"Social Media\" target=\"_blank\" rel=\"noopener\">media<\/a> \"&gt;\n            &lt;img width=\"800\" height=\"450\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/03\/flesh-and-blood.jpg\" class=\"articlethumb wp-post-image\" alt=\"Flesh + Blood\" srcset=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/03\/flesh-and-blood.jpg 800w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/03\/flesh-and-blood-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\"\/&gt;                                    &lt;p&gt;\n                    &lt;span class=\"sf-entry-flag sf-entry-flag-creditline\"&gt;MGM&lt;\/span&gt;\n\n                        &lt;\/figure&gt;\n\n    &lt;!-- START BYLINE --&gt;\n    &lt;div class=\"row align-items-center justify-content-center my-4 text-center medium dark-gray\"&gt;\n        By\u00a0Rob Hunter\u00a0\u00b7 Published on March 8th, 2022 \n        &lt;\/div&gt;\n    &lt;!-- END BYLINE --&gt;\n\n    &lt;i data-stringify-type=\"italic\"&gt;Welcome to\u00a0&lt;\/i&gt;&lt;b data-stringify-type=\"bold\"&gt;&lt;i data-stringify-type=\"italic\"&gt;Commentary Commentary,&lt;\/i&gt;&lt;\/b&gt;&lt;i data-stringify-type=\"italic\"&gt; where we sit and listen to filmmakers talk about their work, then share the most interesting parts. In this edition, Rob Hunter revisits Paul Verhoeven\u2019s Flesh &amp;amp; Blood&lt;\/i&gt;.\n<\/code><\/pre>\n<hr\/>\n<p>Most filmmakers would kill to make even a single movie that somehow finds its way into the pop culture lexicon. <strong>Paul Verhoeven<\/strong>, of course, is not most filmmakers. The Dutch director has been making feature films since the early 70s, and his career has so far seen him deliver no fewer than four <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/watch-movies-tv-seriess\/\" data-internallinksmanager029f6b8e52c=\"8\" title=\"Watch Movies &amp; TV Series\" target=\"_blank\" rel=\"noopener\">movies<\/a> that have gone on to become cultural landmarks. <em>Robocop<\/em> (1987), <em>Basic Instinct<\/em> (1992), <em>Showgirls<\/em> (1995), and <em>Starship Troopers<\/em> (1997) all continue to be quoted, talked about, and celebrated for numerous reasons decades after their release.<\/p>\n<p>Verhoeven tends to infuse his films with some combination of satire and sexuality, with his latest, 2021\u2019s <em>Benedetta<\/em>, succeeding on both counts, but they don\u2019t always click with viewers or critics. <strong><em>Flesh &amp; Blood<\/em><\/strong> is a prime example of a rarity for the director in that it missed the mark with audiences in 1985 and continues to be fairly scorned by most who look back on it with fresh eyes. It\u2019s easy to see why, but I\u2019ve always found its dirty, ugly elements to be part of its antisocial charm.<\/p>\n<p><em>Flesh &amp; Blood<\/em> was Verhoeven\u2019s first English-language film and was somewhat butchered for its US release with multiple trims to scenes involving sex and violence, but a director\u2019s cut was released restoring the footage to his preferred intent. He also recorded a commentary track for it, so of course, I gave it a listen. Keep reading to see what I heard on Paul Verhoeven\u2019s <em>Flesh &amp; Blood<\/em> commentary.<\/p>\n<hr\/>\n<h3 class=\"graf graf--h3\"><span class=\"ez-toc-section\" id=\"Flesh_Blood_1985\"><\/span>Flesh &amp; Blood (1985)<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p class=\"graf graf--p\">Commentator: Paul Verhoeven (director, co-writer)<\/p>\n<p class=\"graf graf--p\"><strong>1.<\/strong> The MPAA demanded trims for a US release amounting to less than two minutes of footage. This version has been restored to Verhoeven\u2019s vision and is \u201cas explicit as I originally intended it to be.\u201d<\/p>\n<p><strong>2.<\/strong> <em>Flesh &amp; Blood<\/em> was his first American production, \u201cif you want to use that word, although it was mostly shot in Europe.\u201d<\/p>\n<p><strong>3.<\/strong> This was his fifth \u2014 and final \u2014 film with <strong>Rutger Hauer<\/strong>. He doesn\u2019t mention why the pair split professionally, but it\u2019s been mentioned elsewhere that Hauer grew increasingly frustrated with the director and was pushed to his limit.<\/p>\n<p><strong>4.<\/strong> The film was budgeted at $6.5 million \u2014 Orion paid the bulk of it, with Dutch and Spanish production companies covering the final million.<\/p>\n<p><strong>5.<\/strong> Our introduction to Martin (Hauer) sees him scooping Eucharist wafers out of a cup and scarfing them down, \u201cindicating his autonomy and the fact that yes he goes through the moves, but it\u2019s all just he thinks he\u2019s the center of the movie.\u201d Verhoeven acknowledges the character is \u201cextremely unsympathetic\u201d but has \u201csome nice sides.\u201d<\/p>\n<p><strong>6.<\/strong> He mentions the \u201caristocratic thinking\u201d that results in the wealthy and powerful avoiding the costs of war and reaping the profits, and adds that times haven\u2019t changed.<\/p>\n<p><strong>7.<\/strong> We see the failed attempt to breach the castle gates, but the next scene shows the soldiers entering the open entryway. \u201cI don\u2019t know exactly why they open because we never found a solution to that and had no time to ram them,\u201d he says, adding only \u201cI\u2019m sorry, but it\u2019s as it is.\u201d<\/p>\n<p><strong>8.<\/strong> The original <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/download-scripts-themes-apps\/\" data-internallinksmanager029f6b8e52c=\"9\" title=\"Download Scripts &amp; Themes &amp; Apps\" target=\"_blank\" rel=\"noopener\">script<\/a> for <em>Flesh &amp; Blood<\/em> changed quite a bit as it was originally about the friendship between Martin and Hawkwood (<strong>Jack Thompson<\/strong>) and how it disintegrated over time. The Ladd Company, the production outfit representing the film, preferred instead that a love triangle be prioritized between Martin, Agnes (<strong>Jennifer Jason Leigh<\/strong>), and Steven (<strong>Tom Burlinson<\/strong>). \u201cWe agreed to do that,\u201d he says. \u201cI\u2019m not so sure that was really the right decision.\u201d He does acknowledge, though, that relationship wound up less romantic and more cynical than the studio wanted.<\/p>\n<p><strong>9.<\/strong> This was his first encounter with the MPAA, but it was far from his last. \u201c<em>Robocop<\/em>, <em>Total Recall<\/em>, <em>Basic Instinct<\/em>, <em>Starship Troopers<\/em> were originally given an X\/NC-17 and had to be cut by me to an R.\u201d<\/p>\n<p><strong>10.<\/strong> \u201cThis was my first adventure in American movie-making,\u201d he says, adding that it was impossible for a European director to make American movies from afar without experiencing US audiences and executives. \u201cIt was only when I started to do <em>Robocop<\/em> that I started to realize that American movies and European movies often are very different and for a different audience.\u201d<\/p>\n<p><strong>11.<\/strong> \u201cMy kind of directing is sometimes difficult I think for actors, especially American actors,\u201d he says, adding that cinematographer <strong>Jan de Bont<\/strong> was \u201cnearly embarrassed and tried to warn me.\u201d The issue was that Verhoeven would instruct actors through demonstration \u2014 through acting \u2014 instead of using his words to direct.<\/p>\n<p><strong>12.<\/strong> Verhoeven first saw Leigh in <em>Fast Times at Ridgemont High<\/em> (1982) which he \u201cthought was a really nice movie.\u201d He was concerned if she\u2019d be up for the \u201cstaggering\u201d amount of nudity and sexual violence this role required, but she made it clear it wasn\u2019t an issue.<\/p>\n<p><strong>13.<\/strong> The \u201clove\u201d scene between Agnes and Steven beneath the hanging corpses is an homage to <strong>Erich von Stroheim<\/strong>\u2018s <em>Greed<\/em>. which features some frolicking atop a garbage heap.<\/p>\n<p><strong>14.<\/strong> De Bont had previously worked with Verhoeven on some of his Dutch films but had already emigrated to the US by the time the director began to move forward with <em>Flesh &amp; Blood<\/em>. He asked the cinematographer to return to Europe and shoot the film, though, as he always \u201cbecause I thought his way of doing the camera was always pretty sensational.\u201d They couldn\u2019t reunite for <em>Robocop<\/em> because it was a non-union production (!) and de Bont had recently joined the guild. They eventually reunited on <em>Basic Instinct<\/em> for the last time.<\/p>\n<p><strong>15.<\/strong> The sexual assault scene that occurs after Agnes is discovered in the wagon at 44:00 was filmed without the usual benefit of a closed set as it was a night shoot requiring more crew than usual and featured numerous cast members and extras by design. Verhoeven suggests it must have but \u201cextremely excruciating for her, but she [Leigh] accepted that without a word of complaint and participated in that scene in the most intense way.\u201d It was heavily trimmed for the US release.<\/p>\n<p><strong>16.<\/strong> Some people accused Verhoeven of making a scene in which a girl seems to enjoy being raped, \u201cof course nothing like that is the case.\u201d He points out that Agnes is acting that way to diminish her rapist\u2019s power and to give him the illusion of a bond between them. It\u2019s an act of survival, and it works as it leads to Martin preventing her from being raped by others as they initially intended.<\/p>\n<p><strong>17.<\/strong> The interior of the chimney at 56:00 was filmed on a stage set. It\u2019s one of only two such sequences in the film. The interior of the well that Martin is dropped into is the other one.<\/p>\n<p><strong>18.<\/strong> The castle that the rogues invade was also used in <em>El Cid<\/em> (1961). <strong>Charlton Heston<\/strong> found it extremely cold back in the early 60s, and Verhoeven\u2019s cast found it the same \u2014 and apparently they complained leading to \u201ca lot of irritation and anger.\u201d<\/p>\n<p><strong>19.<\/strong> Dailies from the castle feast scene led some Orion executives to think they were getting a \u201cfun\u201d film like <em>Tom Jones<\/em> (1963). They were not.<\/p>\n<p><strong>20.<\/strong> The \u201chot tub\u201d scene between Agnes and Martin was also trimmed for the MPAA including the bit where he pulls her towards him by her nipples. \u201cShocking.\u201d<\/p>\n<p><strong>21.<\/strong> He admits that the bit where Hawkwood infects himself by rubbing his own face after accidentally popping a boil is executed \u201ca bit over the top.\u201d<\/p>\n<p><strong>22.<\/strong> The actors atop the castle wall at 1:14:30 were attached by hidden lines to prevent falls, and there were also nets built beneath the bottom of the frame in case they did anyway. They still didn\u2019t feel all that safe up there.<\/p>\n<p><strong>23.<\/strong> The film\u2019s editor, <strong>Ine Schenkkan<\/strong>, was a ballet dancer who broke her toes and switched careers. She also edited Verhoeven\u2019s <em>Spetters<\/em> (1980) and <em>The 4th Man<\/em> (1983).<\/p>\n<p><strong>24.<\/strong> The scene where Hawkwood cuts his own boils is the rare example of Verhoeven censoring himself as he decided not to show the gory details.<\/p>\n<p><strong>25.<\/strong> The ladder contraption that Steven has built to breach the castle was weaker than Verhoeven had hoped. He had wanted to show several soldiers climbing it and falling, but they were limited for safety reasons to just a handful.<\/p>\n<p><strong>26.<\/strong> The shot at 1:28:01 is what convinces the cardinal (<strong>Ronald Lacey<\/strong>) that he\u2019s following a God-chosen character in Martin rather than merely a man. It\u2019s one of many \u201csigns\u201d throughout the film that the religious man uses to justify his antics and those of the other rogues. He learns the error of his ways later when the plague arrives to fuck up his day.<\/p>\n<p><strong>27.<\/strong> He compares the scene where Steven is tortured by rowdy rogues to the one in <em>Robocop<\/em> where Officer Murphy (<strong>Peter Weller<\/strong>) is toyed with and murdered by the gang.<\/p>\n<p><strong>28.<\/strong> The slap at 1:45:55 was meant to be staged, but it was a real slap. Verhoeven suggests it was either an accident or one fueled by the actor\u2019s own irritations from the shoot.<\/p>\n<p><strong>29.<\/strong> Verhoeven points out that the only loyalty shown in the film is the relationship between the two gay characters (played by <strong>Sim\u00f3n Andreu<\/strong> and <strong>Bruno Kirby<\/strong>).<\/p>\n<p><strong>30.<\/strong> He admits the film loses a sense of reality when Steven wraps the chain around a tree in the hopes that a lightning strike will melt the metal and free him.<\/p>\n<p><strong>31.<\/strong> <em>Flesh &amp; Blood<\/em> came at a difficult time for Verhoeven as he had been flirting with Hollywood and was receiving studio offers, but he wasn\u2019t yet sure about leaving Dutch cinema. This film was the compromise, and it was a pain throughout thanks to limitations, conflicting actor accents, MPAA struggles, and more.<\/p>\n<p><strong>32.<\/strong> \u201cI had to confront the American public, American culture, American language,\u201d he says if he wanted to achieve an international career. He did so \u201cmostly because my wife insisted I do so\u201d and adds that left to his own cowardice it never would have happened. \u201cThe enormous amount of talent and expertise [in the US] is staggering of course if you compare that to the lack of it in European filmmaking.\u201d De Bont drew a finer point for him saying that filmmaking is the same all over the world, but there\u2019s just more people doing it in the US which affords a director more variety, skills, and so on.<\/p>\n<p><strong>33.<\/strong> \u201cShe seems to die too,\u201d he says as Agnes is being strangled, \u201cbut of course that would be too dark I think for the movie.\u201d He adds that they did discuss the possibility during production but decided it wouldn\u2019t be commercial.<\/p>\n<p><strong>34.<\/strong> Studio executive <strong>Mike Medavoy<\/strong> was a big supporter of Verhoeven\u2019s US efforts, and at the time of this recording \u2014 post 2000\u2019s <em>Hollow Man<\/em> \u2014 he mentions being in talks with Medavoy for a couple other studio projects. Those plans, unfortunately, never came to fruition, and Verhoeven has only made four films in the past two decades, all back home in Europe.<\/p>\n<h3 class=\"graf graf--h3\"><span class=\"ez-toc-section\" id=\"Best_in_Context-Free_Commentary\"><\/span>Best in Context-Free Commentary<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p class=\"graf graf--p graf--startsWithDoubleQuote\">\u201cThey felt the violence that I display in this movie was too much for a normal audience.\u201d<\/p>\n<p>\u201cIt\u2019s not what we expect from an American movie nowadays, where everything has to be wonderful and positive, and where the darkest sides of humankind are projected to strangers and certainly not visible in the characters of our American heroes. We can just show people, be they Americans or be they Australians be them Dutch or Spanish, see them for what they are \u2014 bad.\u201d<\/p>\n<p>\u201cOkay, so the baby\u2019s dead, and it\u2019s going to be buried in a little barrel, and the barrel is going to be in the ground.\u201d<\/p>\n<p>\u201cAgnes is really a girl that knows what she wants.\u201d<\/p>\n<p>\u201cThis is Nancy Cartwright, very well-known from the <em>Simpsons<\/em> voice.\u201d<\/p>\n<p>\u201cThis is the ultimate love scene.\u201d<\/p>\n<p>\u201cIt\u2019s amazing what Jennifer is willing to do there.\u201d<\/p>\n<p>\u201cChristianity has always been an enemy of sexuality. Sexuality points to the horizontal, Christianity points to the vertical.\u201d<\/p>\n<p>\u201cIt was the worst shoot of my life.\u201d<\/p>\n<p>\u201cSpain has the most beautiful castles ever built.\u201d<\/p>\n<p>\u201cI have always felt a pleasure in portraying these women in many movies as very strong and having strong convictions, wanting to achieve something, but willing to go anywhere to achieve their goals.\u201d<\/p>\n<h3 class=\"graf graf--h3\"><span class=\"ez-toc-section\" id=\"Final_Thoughts\"><\/span>Final Thoughts<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p class=\"graf graf--p\"><em>Flesh &amp; Blood<\/em> sees Verhoeven\u2019s love for and knowledge of history come bubbling to the surface. Sure, the film itself only minorly so, but his commentary sees Verhoeven discussing real people and events from the Middle Ages along with thoughts on the Catholic Church, Communism, and more. The track was recorded in the early years of post-9\/11, and Verhoeven makes more than a few casual asides to the mistreatment of Muslims and Middle Easterners as a side effect of the war on terror. The bulk of his talk, though, is focused on the film, and he rarely pauses to take a breath. As someone who listens to a lot of commentaries, it\u2019s a refreshing change from filmmakers who pause again and again throughout.<\/p>\n<p class=\"graf graf--p\">Read more Commentary Commentary from the archives.<\/p>\n<pre><code>    Related Topics: Commentary Commentary, Paul Verhoeven\n    &lt;!-- AUTHOR BOX --&gt;\n<\/code><\/pre>\n<div class=\"gray-bg p-4 border small mb-5\">\n<div class=\"row align-items-center text-md-center\">\n<div class=\"col-md-2\">\n            <img decoding=\"async\" src=\"https:\/\/secure.gravatar.com\/avatar\/dca6f7118e64ea9aa6ef4f60221cfe7e?s=96&amp;d=mm&amp;r=x\" class=\"circle img-fluid\" width=\"100px\" height=\"100px\"\/>\n        <\/div>\n<div class=\"col-md\">\n            Rob Hunter has been writing for Film School Rejects since before you were born, which is weird seeing as he&#8217;s so damn young. He&#8217;s our Chief Film Critic and Associate Editor and lists &#8216;Broadcast <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/news\/\" data-internallinksmanager029f6b8e52c=\"2\" title=\"News\" target=\"_blank\" rel=\"noopener\">News<\/a>&#8217; as his favorite film of all time. Feel free to say hi if you see him on Twitter <a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/twitter.com\/FakeRobHunter\">@FakeRobHunter<\/a>.        <\/div>\n<\/p><\/div>\n<\/div>\n<pre><code>    &lt;!-- START RECOMMENDED READING 1 --&gt;\n                                &lt;section class=\"recommended py-5\"&gt;\n            &lt;h3&gt;Recommended Reading&lt;\/h3&gt;\n\n\n        &lt;\/section&gt;\n            &lt;!-- END RECOMMENDED READING --&gt;\n\n\n\n\n&lt;\/div&gt;&lt;script async src=\"\/\/platform.twitter.com\/widgets.js\" charset=\"utf-8\"&gt;&lt;\/script&gt;\n<\/code><\/pre>\n<blockquote><p><strong><span style=\"color: #ff6600;\">If you liked the article, do not forget to share it with your friends. Follow us on\u00a0<span style=\"color: #ff0000;\"><a style=\"color: #ff0000;\" href=\"https:\/\/news.google.com\/publications\/CAAqBwgKMLG0nwswvr63Aw\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Google News<\/a><\/span>\u00a0too, click on the star and choose us from your favorites.<\/span><\/strong><\/p><\/blockquote>\n<blockquote>\n<p style=\"text-align: center;\">For forums sites go to <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/forum.buradabiliyorum.com\/\" target=\"_blank\" rel=\"noopener\">Forum.BuradaBiliyorum.Com<\/a><\/span><\/strong><\/p>\n<\/blockquote>\n<blockquote>\n<p style=\"text-align: center;\"><strong>If you want to read more Like this articles, you can visit our <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/en.buradabiliyorum.com\/social-media\/\" target=\"_blank\" rel=\"noopener\">Social Media category.<\/a><\/span><\/strong><\/p>\n<\/blockquote>\n<p><span style=\"color: black;\"><a style=\"color: #ff9900;\" href=\"https:\/\/filmschoolrejects.com\/paul-verhoeven-flesh-and-blood-commentary\/#utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=paul-verhoeven-flesh-and-blood-commentary\" target=\"_blank\" rel=\"noopener\">Source<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;34 Things We Learned from Paul Verhoeven&#8217;s &#8216;Flesh &#038; Blood&#8217; Commentary&#8221; &lt;span class=&#8221;mx-1&#8243;&gt;\u201cThey felt the violence that I display in this movie was too much for a normal audience.\u201d&lt;\/span&gt; &lt;\/p&gt;&lt;div id=&#8221;&#8221;&gt; &lt;figure class=&#8221;sf-entry-featured-media &#8220;&gt; &lt;img width=&#8221;800&#8243; height=&#8221;450&#8243; src=&#8221;https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/03\/flesh-and-blood.jpg&#8221; class=&#8221;articlethumb wp-post-image&#8221; alt=&#8221;Flesh + Blood&#8221; srcset=&#8221;https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/03\/flesh-and-blood.jpg 800w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/03\/flesh-and-blood-768&#215;432.jpg 768w&#8221; sizes=&#8221;(max-width: 800px) 100vw, 800px&#8221;\/&gt; &lt;p&gt; &lt;span class=&#8221;sf-entry-flag sf-entry-flag-creditline&#8221;&gt;MGM&lt;\/span&gt;&#8230;<\/p>\n","protected":false},"author":1,"featured_media":413609,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/03\/flesh-and-blood.jpg","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[],"class_list":["post-413608","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/413608","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/comments?post=413608"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/413608\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/413609"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=413608"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=413608"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=413608"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}