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

It's the Treatment.

I am at the Sundance Cinemas with Robert Redford,

whose newest film is director is the company

you keep the adaptation. Bob is so good to talk to you, finally, in front of the microphone.

Just think I'm here with Elvis Mitchell.

That's so sad that you can think about that.

That's a big deal.

That's the saddest deal of all time.

No, it's a good deal.

No, one of the things I've always wanted to talk to you about is I remember reading the Playboy interview in 74 when you were

out driving and you said you saw Henry Miller crossing at an intersection and some kids were like

trying to push them along you just went take your time Henry that's right that's right and that's right

and that does make me think about how as a filmmaker the things you've done as a director have all been

these multi-generational

pieces? Well, I never thought of it that way. I suspect you're right. I think that maybe in Miller's

case, he had a huge impact on me when I was a struggling artist. I started out to be a painter

and I was living in France and I was just struggling artist. I started out to be a painter and I was living in France.

And I was just 19 years old and I read his books which were outlawed at that time in the States.

And it hit me like a ton of bricks. I mean, it really hit me. And then when I read Big Sur in the Oranges of Hieronymus Bosch,

I had had a connection with Big Sur myself and I thought, well, and things came together. And so I was really a fan of Henry Miller, and I held him in high esteem.

And then time goes on, years pass, people lose who they were and some of what they were.

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