JEREMY THOMAS: Strangely enough, I think A Dangerous Method has a very strong relation to the other movies. Really, it’s sort of like a Cronenberg movie or an action movie about words. The words in it are extreme and the ideas are extreme in the film, spoken by Freud and Jung and Sabina. It’s a very extreme, internal film and that’s what attracted David to it. It doesn't have any “goo” in it. There’s none of the sort of “gooiness,” which is the Fangoria area of cinema that is… David is, unfortunately… He has to wear that and he has to live with that. Which is a shame because that is what David Cronenberg’s name equals: Fangoria fan club. But it’s not true. It's not true. And it’s what he’s had to live with because of the early work. Which was his early work, and then he matured into another sort of filmmaker, like everybody matures. All artists and all painting artists – artists with paint and artists with the pen – they’re allowed to change, you know. But film artists are, unfortunately, they’re not even artists, you know. They’re people to supply commerciality to the screen.