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

Welcome to The Treatment.

I'm Elvis Mitchell.

My guest newly arrived here from New York and newly lauded with a Writers Guild nomination for her latest film, The Adaptation of the Novel Mudbound, the director of that film, Dee Reese.

She hasn't been here since her first film, Pariah, seven years ago, where I first made her a son.

This is a thrill-at-you-backed. First of all, congratulations on the nomination.

Thanks, Elvis. It hasn't been that long, has it? Seven years? No, I've seen you since then, but you haven't done the show.

You're just too busy doing other stuff.

No, check the logs.

That can't be.

Check the logs, but I'd check on your writer's good.

Like, you like erase that middle tape or something.

Tape.

Yes, yes.

We went back to the 20th century and found tapes to erase. what we get you out of the system memory, the institutional memory of the show. Let's talk a little

bit about, because I mentioned to you, you came to Lachma for a screening of the movie, and I said to you

this thing that I associate with you as a filmmaker, as a dramatist, is there's always a community

of voices in your work, even though there may be somewhat at the center of the story who's excluded

from that community, and that happens here in a number of cases, but even more so than the book, you mean you give voice.

And the thing I think about, and I connected this to Mudbound to Pariah, there's a scene early on

when the youngest sister says she wants to be a stenographer and her brother basically sort of does the whack-a-mole on her,

no black stenographer, which made me think back to how your protagonist in Pariahia feels

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