From KCRW in Santa Monica, this is The Treatment.

Welcome to the treatment.

You can also hear the show at KCRW.com.

If you remember the magnum opus of Sid and Marty Crawff from 1974, Land of the Lost, you'll remember that it was neither magnum nor opus, but kind of had an epic imagination.

The director, Brad Soberling, is bringing that show Land of the Lost to the big screen, and you know bad for him, movies that I think also deal with the line between reality and unreality, looking at his films,

such as his great adaptation of Vim Vendors, The Wings of Desire, and, of course, Lemney Snicket.

And the last time Brad was here was with 10 times or less, which also kind of moved between reality and unreality.

Brad, thanks so much for coming back.

Thrilled to be here. But that is something that you've done a lot, and it almost feels like the line between the actors finding a reality and dealing with their own kind of subjective world.

And I wonder if that's always been something that's attracted you to material.

It's probably at its root a desire for theatricality and yet a real love of sort of observation of realism, if you will.

It's like I love the chance to let moments kind of grow more theatrically.

And so probably I am attracted to some of these properties or ideas that allow us to do that if it's City of Angels.

And we have characters who can move silently through a world and sort of like drop in on some of the finest moments of life, and the storytelling allows for that.

The thing that also runs through these movies as always one guy who kind of one character who functions as kind of an id, be it Dennis Franz and the City of Angels or, to some extent, Morgan and 10 items, or here it's really Danny McBride.

There's one guy who always functions as sort of appetite and a bigger appetite than anybody else has.

It basically just gives you opportunities, whether it's opportunities to basically have characters speak

truths that otherwise might offend or otherwise might be not kind of couched in politeness.

And also, I think it creates an avenue for me to head into moments or sequences that

otherwise characters who are a little more careful might not do.

It's funny because by nature I'm a bit of a loner,

and I'm definitely more of a sort of a shy personality,

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