The director thinks all of his movies have humor, "except maybe The Brood. That means that she bring subtlety, complexity, and possibly the difficulty of her character. And like many Westerns, where one would have to take people at their word that they were who they said they were, the concept of identity is crucial to what Cronenberg and Olson are getting at. On the whole, the entire graphic novel, which was published in by Paradox Press and, later, Vertigo — both imprints of DC — looked like a studied sketch of the events that writer John Wagner had laid out. Soon after, Tom is summoned to Philadelphia by his crime-lord brother, Richie William Hurt , and what follows is an act of savage attrition, wherein Tom finally fully confronts his past as Joey. Cronenberg said he was happy to go back to the opening scene hotel; he had used it in EXistenZ, thought it had great texture and wanted to use it more. That's the violence we worry about the very most. It was too cold and there were too many mosquitoes, so the bedroom scene replaced it. Can a person be both? The director thought he might cut into or shorten it, but the scene worked so well he decided to keep it. The sex scenes were not in the original script; Cronenberg asked the writer to put them in. A masterful director, he toyed with our expectations from the details of how the movie unfolds to what we think we can presume about its characters, and even what we--as an audience--want. As anyone familiar with his work knows, Cronenberg films violence, the destruction of the physical body, with blunt yet flourishing imagery, which captures the instinctual power of violence that the graphic novel never quite conveys. The film's violence was developed when Cronenberg was "looking at DVDs that teach you how to kill people on the street," because he wanted it to be very realistic--not balletic--but like a dirty, nasty street fight. Is Tom an essentially good person or a villain in disguise?