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

Welcome to the treatment, the treatment, the home edition.

It's always good to have people come back to the show, even it's over a decade later.

The last time my guest

Academy Award winner, Barry Jenkins was here. He was making movies in sort of black and white.

He's now moved into the most vivid color imaginable with his Amazon adaptation of Colson Whiteheads,

the Underground Railroad. Barry, first of all, thanks so much for being here.

Hey, thank you for having me. It's good to be back. I assumed I was here for Moonlight,

but man, medicine of Malachi, that's a deep, deep dig there.

Talking about Moonlight and medicine, one of the things that I find fascinating about

this and also the way you work that I think is peculiar to you is that you are always aware

of the

color spectrum when it comes to people of color as anybody I know and how will we react to that.

What I mean by that is that there's so much red in this.

I mean, more red I think in the first episode, in fact, than you used into your entire career up until then.

And I think you're so aware of the visceral power of the

color and how it makes people react to people of color, that was immediately struck by just

your mastery of it. It's interesting you point that out because in medicine from melancholy,

we shot the show. If you look at our raw data, it's entirely red because we knew we were

going to desaturate the image,

but we wanted to retain, even in this black and white prism, some warmth in the character's skin.

And yeah, in the first and last episode, this idea of red, these very warm tones were very important,

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