From KCRW Santa Monica and KCRW.com, it's the treatment.

It's the treatment.

Sometimes old friends take way, way, way too long to come back.

Since Dan Klaus was last here in 2001,

he's written at least two more screenplays, had those movies made, done a ton of other books.

I should have to use a phrase comic books, but he is a preeminent writer illustrator whose work

has such an emotional clarity and dynamism.

And that's all more than evident in his new book, Monica.

Dan, is such a pleasure to have you back.

Such a pleasure to be here.

22 years, that's mind-boggling.

That's criminal.

You've had a film career since then.

That's still due. And gosh, I mean, one of the things that just from section to section in the book, I mean, just thinking about the first panel, the first page of Foxhole, first of all, first of all, first of much I love your illustration style. And there's something about the way you delineate and depict eyes that have so much, I think such an emotional clarity, you know, and we know

exactly the character's state of mind. And I want you to talk about where that comes from for you

because people so often say that people draw expressive eyes.

They usually tend to mean big eyes or what we now call anime eyes.

And that's not where you land with this stuff at all.

So, I mean, because we know what the characters are feeling from not even the rest of the face.

We can see it in their eyes, can't we?

What a great question. I feel like that is the key to the characters being able to, you know,

communicate to the audience in a way that, like, an actor would. And so I actually leave the eyes

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