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

Welcome to The Treatment.

I'm Elvis Mitchell, with just two films.

My guest, writer-director, Kyle Patrick Alvarez has made an interesting

kind of genre for himself, making movies about guys who don't quite fit into the social fabric.

This first film was easier with practice. His newest film which played Sundance this year,

C-O-G, Child of God, adapted from the short piece by Davis-Aderas the collection, Naked. Thanks so much for being

your Kyle, first of all. Thanks for having me. And you're such a social guy, so talk a little bit

about this kind of subgenre, maybe for yourself, what these guys who just don't fit in.

I don't know. I think I've, for me, it's like I struggled with anxiety a lot for growing up, you know, in school. I was kind of outcast-ish, you know.

And, you know, easier with practice was sort of a big part of that of like that was like sexual

insecurity and how that influences social insecurity, you know, which I think was a big part of

of my at a growing up, you know. And I think COG came more just from like community, the idea of where

do you fit into your community in a religious sense or, you know, in a family sense, like,

where do you find how you function the best? So, I mean, I think that the characters are alienated,

but sort of from different places. But I understood both of those ways. But the guy's so nice

in the first movie and such a jerk in the second one.

That was sort of how I was like, okay, they'll be sort of opposites of each other.

It's interesting too, because you've also chose to do adaptations for your first two films.

You've taken source material, but in the ways that you made it very distinctly your own.

Yeah, I like adaptation. You know, I like filmmaking because it's, it's like a team media. You know, that's what I love about it. I love working with other people. And in a way, writing is one of my least favorite stages because you're essentially by yourself. But in a weird way, not to sound too precious about it, if you have another piece of material there, that's like kind of the other person in the room in a way. That's the way I see it. It's like you're kind of working with the material and you don't feel so

lonely about it. You know, whenever I say, I move much more slowly when I'm writing my own

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