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

It's the Treatment.

I'm Elvis Mitchell.

You can also have this show at KCRW.com.

I was just talking to my guests and we were reminding each other.

We met at what was the blackest Oscars in movie history of a couple of years ago.

He has now come around to make what is probably the blackest Spider-Man, probably the

blackest Marvel movie in history.

He is one of the directors of across the Spider-Verse.

He is an Oscar nominee for his screenplay, his adaptation of his play, one night in Miami. He also had another

Oscar nominee movie up that same year. Soul, my guess is writer, director, playwright,

Kemp Powers. I would love to talk to you about completely out of time going through all of your

credits here.

You know, it's funny in watching this movie, first of all, I find myself thinking of Miyazaki because in terms of length and density, it has that kind of feel of something that we haven't really seen in American animation before.

The first Spider-Verse, I think, was close to two hours.

And it's one of those weird things where you're making the film, and it's super duper long.

And we keep saying to one another, like, okay, eventually we're going to have to trim this down.

And we start trimming. And I mean, understand, animation's an iterative process.

So when you're in storyboards, we had versions of this film that was so much longer.

But then you get to a certain point where you're recording the voice actors and you're making the film.

And you're like, okay, it's long, but we'll trim it.

We'll trim it.

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