HOWARD SHORE: A Dangerous Method, yes, it does require… I do research on all of the films I made. It’s important to look around you. Look left and right and read other books that may have influenced the author or the subject. I mean, I do it on all the projects that I work on. I love to read, so it’s actually an interesting aspect of filmmaking, that you can spend a lot of time with books and with good literature, sometimes.
But in A Dangerous Method, I had the idea of connecting the music to the opera Siegfried. And Siegfried was important in the story, if you know the film, and the lives of Jung and his mistress, his patient. She considered Jung to be a Siegfried-type character. She fantasized that her unborn child was called Siegfried. So in studying the opera I thought that I could structure the world of Siegfried and the line of the opera to the line of the film. The pieces of Wagner that I adapted for the film – and I think that it was maybe the first time I had ever tried something like that so extensively, especially on David’s film, where the opera is recreated in the film in fragments. And it’s all as a puzzle really, but it unfolds linearly as the opera does. And so, Siegfried really gave me shape for the film and I followed that pattern of it for the movie.