Problem: Paul Verhoeven was born on 18 July 1938, the son of a school teacher, Wim Verhoeven, and a hat maker, Nel van Schaardenburg. Although he was born in Amsterdam, the family lived in the village of Slikkerveer. In 1943 the family moved to The Hague, the location of the German headquarters in the Netherlands during World War II. The Verhoeven house was near a German military base with V1 and V2-rocket launchers, which was repeatedly bombed by allied forces.

After about 20 years of working and living in the United States, Verhoeven returned to the Netherlands for the shooting of a new film. Together with his screenwriter Gerard Soeteman, Verhoeven made Black Book (2006). The director was hailed by the host of the Netherlands Film Festival with the words "The return of a hero." Black Book eventually won six Golden Calves at this festival, including Best Director. When the shooting of Black Book was delayed due to financial issues, there was speculation about a new production. The film Beast of Bataan had been announced, but once the shooting for Black Book resumed, the other film was never realized. Since his return to European cinema in 2006 with Black Book, Verhoeven has been connected to a large number of projects, but for the moment none of them has come to fruition. Some of those titles were produced with other directors at the helm, such as The Paperboy.  Finally, in a rather unexpected twist, Verhoeven followed Black Book by directing a movie in French: Elle, an adaptation of a novel by Philippe Djian. The film by Verhoeven, a psycho-thriller where Isabelle Huppert plays a rape victim, was selected in the Official Competition at the Cannes International Film Festival, where it obtained very favourable reviews.  Verhoeven has been a knight in the Order of the Netherlands Lion since 2007. In December 2016 it was announced that Verhoeven would be the President of the Jury for the 67th Berlin International Film Festival, scheduled to take place in February 2017.  In April 2017 his next French film titled Blessed Virgin was announced, to start filming in August of the same year. It is a biographical film about the life of Benedetta Carlini, which will be portrayed by Elle co-star Virginie Efira, and is an adaptation of the non-fiction book Immodest Acts - The life of a lesbian nun in Renaissance Italy by Judith C. Brown.

What else happened while making the movie?

Answer with quotes: Verhoeven has been connected to a large number of projects, but for the moment none of them has come to fruition.

Question:
Richard Georg Strauss (11 June 1864 - 8 September 1949) was a leading German composer of the late Romantic and early modern eras. He is known for his operas, which include Der Rosenkavalier, Elektra, Die Frau ohne Schatten and Salome; his Lieder, especially his Four Last Songs; his tone poems, including Don Juan, Death and Transfiguration, Till Eulenspiegel's Merry Pranks, Also sprach Zarathustra, Ein Heldenleben, Symphonia Domestica, and An Alpine Symphony; and other instrumental works such as Metamorphosen and his Oboe Concerto. Strauss was also a prominent conductor in Western Europe and the Americas, enjoying quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire.
Strauss wrote two early symphonies: Symphony No. 1 (1880) and Symphony No. 2 (1884). However, Strauss's style began to truly develop and change when, in 1885, he met Alexander Ritter, a noted composer and violinist, and the husband of one of Richard Wagner's nieces. It was Ritter who persuaded Strauss to abandon the conservative style of his youth and begin writing tone poems. He also introduced Strauss to the essays of Wagner and the writings of Arthur Schopenhauer. Strauss went on to conduct one of Ritter's operas, and at Strauss's request Ritter later wrote a poem describing the events depicted in Strauss's tone poem Death and Transfiguration.  The new influences from Ritter resulted in what is widely regarded as Strauss's first piece to show his mature personality, the tone poem Don Juan (1888), which displays a new kind of virtuosity in its bravura orchestral manner. Strauss went on to write a series of increasingly ambitious tone poems: Death and Transfiguration (1889), Till Eulenspiegel's Merry Pranks (1895), Thus Spoke Zarathustra (1896), Don Quixote (1897), Ein Heldenleben (1898), Symphonia Domestica (1903) and An Alpine Symphony (1911-1915). One commentator has observed of these works that "no orchestra could exist without his tone poems, written to celebrate the glories of the post-Wagnerian symphony orchestra."  James Hepokoski notes a shift in Strauss's technique in the tone poems, occurring between 1892 and 1893. It was after this point that Strauss rejected the philosophy of Schopenhauer and began more forcefully critiquing the institution of the symphony and the symphonic poem, thereby differentiating the second cycle of tone poems from the first.
Answer this question using a quote from the text above:

Why was he more critical?

Answer:
thereby differentiating the second cycle of tone poems from the first.