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

It's the Treatment, as I said to my guest, Rinaldo Marcus Green.

We're just going to keep doing this until one day we're actually in the room.

But in the meantime, we will be happily talking to him here about his new film, Bob Marley One Love.

It's a new take, a new biofilm for him. And it's good to talk to you again. How are you?

I'm well. How are you doing, Elvis?

I'm well. And, you know, this is almost a bookend to King Richard because this is a film about absent fathers, isn't it?

It is. It is. And something I learned about Bob was that he was homeless, that he didn't have a father.

And I don't know if it was something I knew before I took on this project.

When you think about those, so many of those songs are about a yearning for family, be it a

literal or figurative family, and that's what you kind of make this movie about, isn't it?

Yeah, that's spiritual journey.

I knew I wanted to make something that was a bit more lyrical, a bit more poetic, and, you know,

it was known that Bob had visions, and, you know, he was known that Bob had visions and, you know, he had seen the

shooting before it happened. And I needed a visual representation for that journey. What was that

going to be for Bob and that spirituality, which goes in all his music. Obviously, Rastafarianism

plays a big part of that, but, you know, he had these visions, and I wanted to show that in this film.

And we should say the film takes place in a very concentrated period of time, doesn't it?

Yeah, so we start the film in 1976, which felt like the right period of time for us to capture, because in 76,

Jamaica was, you know, in political turmoil. And Bob was at the

center of it. You know, you had these two warring factions between the JLP, Jamaican Labor Party and the

PNP, People's National Party. And they were all vying for Bob's attention and support. And because he was

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