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

Welcome to the Treatment from the Toronto Film Festival.

I'm Elvis Mitchell sitting across from man, the actor Michael C. Hall,

who's been involved with more projects with father trouble than any actor I can think of.

Of course, we all know him from six feet under. Even the film Bliss, this independent film.

There's some issues there. And they show Dexter. And I first encountered him on stage. And in fact, I even talked to Sam Mendez when he was here last fall, Caparay. First of all, Michael, thanks so much for being here.

Oh, it's a pleasure. Thanks for having me.

And the thing I was talking to Sam about, and he doesn't make any extra movements.

And at night, he becomes more graceful and animal-like.

Where did that come from?

I don't know.

Perhaps having trained to be on stage and being accustomed to approaching a characterization from a physical place

and from a sort of head to toe consideration

because an audience on stage sees you from head to toe at all times. And I think finding a way

a character moves that's distinctive can help just reflect and inform whatever your sense of

the person is.

It's not an entirely conscious thing, but I do enjoy watching people move as a pastime,

and I'm always amazed at just how really distinctive everyone's way of moving is.

So I think I probably try to come up with an organic

and not arbitrary, but yet distinctive way of moving for each of the characters I play.

Because singing is the MC in Cabaret, that's all physical flourish. That's all a guy who

has no inhibition. Basically, you can read every thought in the way he moved.

...