From KCRW, Santa Monica and KCRW.com, this is The Treatment.

Welcome to the treatment. I'm Elvis Mitchell. Let's see. If we go from Juneau to Transcendence,

where are those things have in common besides the fact that they're movies? They start off as scripts that made their way into the

legendary blacklist. It's co-founder and my longtime friend, Franklin that is sitting across me. Franklin,

first of all, thanks so much for being here. Thank you for having me.

I always often thought, rather, you should call this a dream factory because there's so much hope attached to some of these scripts.

And when I've talked to people and I tell them, I was going to be talking to you on the show.

Oh, my God.

I just love that.

And the subtext is they love it as an entity because it says that there is not only a conduit, but a resting place for these things that have real quality.

Yeah, I mean, that's the hope.

And I think that the more that we can do to shine a very bright spotlight on people doing ambitious and really high quality work, the more likely it is that those get made.

You know, I think that really the role

that we play is to shine that very bright spotlight and say, hey, here's a bunch of stuff that,

you know, maybe you overlooked, maybe you loved it, but you didn't pull the trigger on it for whatever

reason. It might be worth taking a second look. And I think that's oftentimes what happens. At the

end of the year, when the list comes out, there are meetings all over around town sort of going through the list and making sure that people didn't miss anything the first time around.

And hopefully it gives a lot of these projects or renewed energy.

You know, I think of the list as a catalyst a lot of times for these projects because it focuses people's attention on them.

And the hope is that someone who hadn't read it does read it

and that person has enough power to actually make that film happen.

What I love about Blacklist is being a person in color, like yourself,

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