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

Welcome to The Treatment. I'm Elvis Mitchell.

It's so interesting when you have not only a movie, but now a series of films that are about basically a man fighting to find his own morality, to find his own decency, and he's not the

hero. He's the protagonist and the star of the movie, but he's not the hero. We're, of course,

talking about the John Wick films. The newest film is John Wick Chapter 3, Parabellum.

It's director, Chad Sherehielski sitting across me. And Chad would tell you,

first of all, I ran to my friend Jason Mansuka,

so like a month ago, he went,

dude, you can't believe what I'm doing. I'm in the new John Wickman, I went, do you die?

He went, who's put his hands up? And that's one of the things that the

movies have going for them, from from David Patrick Kelly and Tom Sadowski in the first one to Peter Stomari in the second.

I mean, people who give each scene life, even if they're in effect kind of like day players,

you make an emotional investment every time these people come up, don't you?

I try to.

For people that don't know, I met Keanu, geez, what was it, 96, I was his stunt double on the Matrix trilogy.

So I ended up spending about 10 years of my life working with the Wachowski's at the time,

who in my mind are still some of those genius filmmakers that I've ever had the pleasure of working with.

But their big thing was world building, obviously, with the Matrix and stuff.

They were very, very adamant about every little thing helps build the world they're trying to create.

Music, wardrobe, props, the coffee cup on the table.

And one of their most important assets, they just didn't look as cast as casting for an actor.

They looked at cast as world building.

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