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

Welcome to The Treatment. I'm Elvis Mitchell. From my house, from his house, is our guest whose newest project is the Amazon series,

Taylor's from the Lupin, whose other films include One Hour Photo and Never Let Me Go, Mark,

Romantic. Mark, thanks so much for doing this.

Thanks, Elvis. It's nice to connect with you.

One of the things that works so well about this show is that it really takes its time.

Is that one of the things that attracted you to it?

Well, when you read the script, it almost suggested a certain kind of pace that was baked into the way the story was told.

And then there were many conversations as we were figuring out the whole world of the show and how we're going to cinematize Simon's paintings.

One of the many discussions that we had was about how can we make a pace that doesn't bore people but suggests that this is a show that you want to kind of ease into

and it's not going to be hurling action sequences or violence at you all the time let's just sort

of settle in and take a pace that's maybe a little out of step with other shows but it was very

important to us we really worked a lot trying to modulate that so it wouldn't drive people crazy, which I think it does drive a few people crazy, but most people have settled into this and just coincidentally with this terrible pandemic, there was something soothing about the pace, which was also intended.

Time is such an important force in the show, isn't it?

It's Nathaniel's brilliant conceit that because they're doing these experiments with the eclipse in a facility called the Loop 600 feet underground, that everything above ground,

you know, time, space, memory, identity, these things all become malleable or

flexible or morphable. And that allows him to use that as a sort of a great storytelling tool,

and a very original, I think, storytelling tool to explore more intimate human stories in an original way,

I think.

I was wondering about the size and texture of the original paintings.

Well, they're digital paintings, so I don't know what resolution he works at, but I'm assuming

they can be printed quite large, but the paintings, I believe the paintings are done for Loop are all done

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