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

It's The Treatment.

Well, when you think about family movies, you probably think about,

oh, I don't know, a scene that features a character.

It looks like Hawkman from Alex Raymond's Flash Gordon, firing a shotgun, then passing a shotgun and somebody smoking a cigarette,

or perhaps a little boy figure standing in front of a man building a statue of Christ of the Crucifixion,

or perhaps an ending scene where characters watch up onto the

shore what looks like the end of saving Private Ryan with submarine minds. Those are all in the family

version of Guillermo del Toro's Pinocchio, where else they come from, but the mind of Guillermo

del Toro, Guillory, thanks for being here. My pleasure, my friend, yes.

Given this is the 30th anniversary of Kronos this year, God, that just occurred to me as we started to talk.

I'm trying to think of a film of yours that doesn't start off with the morning of a death of a character and the rest of the movie looking towards the resurrection of that character.

You know, Alfonso Guaron makes that same point over and over.

But the funny thing, if you want to think about it and make a complete circle, the main character

in Kronos is a Geppetto-like figure that rejects immortality.

And the final scene is him dying in bed with his child by the side,

as Don slowly rises on the window.

Exactly the same ending as Pinocchio.

Spoilers ahead.

But it was quite remarkable to look at how it deals with death, immortality, life, family law.

When I interviewed the coins about their first movie and Louis Davis, they said, do you mean we repeat ourselves all the time?

Well, I was just trying to think, because I would re-watch Chronos

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