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

Welcome to The Treatment. I'm Elvis Mitchell. This is an episode I recently recorded with a live audience during the LA Film Festival

with writer-director Justin Lynn talking about the Fast and Furious films. The first thing I think of

when I see your movies is bringing the subversive. I mean, you really want to like shock audiences

and make people think. And you found a way to do that with Fast and Furious

film just by bringing Han into the movie from Better Luck Tomorrow. How many people here

seeing Better Luck Tomorrow? When people were like, wait, is that Han from Better Luck

Tomorrow? Talk about how you came up with that idea of bringing him aboard.

It was really interesting because when they approached me to do Tokyo Drift, they found me in London.

I was shooting there and I had read the script and they called me.

I said, thank you. No, I'm okay. I don't want to do it.

And they said, well, you should really come in. Stacey Snyder's ahead of the studio. You should take that meeting. So I went into the meeting to tell him no, but she was so great. She said, why? I explained why I found it, you know, potentially offensive, this and that.

No, no, you can't start with this and that.

Potentially offensive.

Well, when I read it, it was a script where, you know, they had cars drifting next to Buddha statues and geisha girls,

and it was just, as a film viewer, I found it kind of offensive.

It was seeing through that lens of Hollywood.

And to her credit, she said,

look, I really want you to do it. It's going to start shooting in two months. Do whatever you want.

And so I thought, okay, that's a good exercise, you know. And as I was writing it, I really was thinking of Han a lot. So I decided, let's, let's, you know, when we were doing the Better Luck Tomorrow tour,

everybody asked what happened to the characters because the open ended kind of ending.

And I thought, okay, I'll give him that.

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