When I was young I hated my body because it was so thin -- now I try not to look at it too much because it's so old. There perhaps might have been just six months when I felt comfortable with it -- when I discovered alcohol for the first time and learnt to drive and was fattening out and had just met your mother.

There is a shy client who uses invisible ink on Nagiko's body to hide his obvious talent. The woman attempts to develop the invisible ink by bathing in warm water, by standing as close as she dare to a hot fire, by washing her body in the juice of onion-skins until the onions make her weep and her tears prove to be the necessary solvent to reveal the writing.

Obviously, I am the cook. The cook is the director. He arranges the menu, the seating order of the guests; he gives refuge to the lovers; he prepares the repast of the lover's body. The cook is a perfectionist and a rationalist, a portrait of myself.

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It seems to me that the comprehension and enjoyment of the reader, as opposed to the viewer, is best served in printing this version rather than a slavish definitive transcription. Besides, what film is truly definitive? By the time you see the film it may very well be sub-titled, re-edited, shortened, even censored, and every film is viewed at the discretion of the projectionist, the cinema manager, the architect of the cinema, the comfort of your seat and the attention of your neighbour.