From KCRW Santa Monica and KCRW.com, it's The Treatment.

Welcome to the Treatment, the Home Edition.

I'm Elvis Mitchell.

What can you say about a man who's worked with people from John Hughes to Claude

Chevroho with a stop with Albert Inorato in between? All I can say is I'm glad he's doing the show.

His new book as writer is Brat, although I'm a big fan of his book, The Longest Way Home, Andrew

McCarthy. And one of the reason I want to have him on is there's a line in that book that I think

really informs who

he is as an artist. When you wrote emotion has been the tangible currency of my life.

That's a good line. And it's yours. I wrote that. That's good. Yeah. Okay. Yeah, I'm quoting you

back to you. What's going to happen here? But what I thought was really

interesting about sort of the position between the longest way home and Brad is that it gets that question about why you want to do this, which kind of comes up in both places.

And you deal with it in Brett by talking about, you talked to Alec Baldwin. And he said, maybe you didn't want to be famous. But I wonder if it's that

thing for you, it's the difference between being a writer and being an actor. And as a travel

writer, you want to get lost in a situation and be able to analyze it. As an actor, you're going

to be lost in a situation and just let yourself go in the currents. Yeah, you want to embody it in a way

without any kind of third eye analyzing of

it when you're acting. And in writing, you absolutely want to have that critical eye to it. I think

that's actually really astute. And one of the things that got in the way eventually of my acting

was I developed more and more of that kind of critical eye of it and didn't lose myself in it as much

as I did when I was younger. I think that's really, I think you've hit the mail on the head there.

Good interview. Okay, bye.

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