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

Welcome to the Treatment. I'm Elvis Mitchell. I look to think of our old friend Sarah Pauley as a real artist.

She got her start as a child actress, looking for different kinds of emotional truths as a director and

an adult with films such as away from her and take this walt. She also looked for a kind of

emotional truths as well. She looks for the real truth in her newest movies, stories we tell. Thank you so much

for being here, Sarah. So good to see you again.

Nice to see you, too.

But that is something I think of, especially the movies you've done as a writer-director.

They've been movies that have been kind of looking for a truth and understanding emotionally and where people stand.

What does that attract you to that?

I'm not sure. I tend to feel like if you keep mining the same territory over and over again, there's something very powerful in your subconscious that's drawing you to that. I think in this case, I think, you know, my first two films away from her and Take This Waltz were both about marriages and they're both about trying to find the truth of, you know, in the past and away from her dealing with memory and different

versions of what may have happened. And it's interesting now that I've made this film, which is,

you know, about my own family. I think in a strange way it's become conscious as opposed to

subconscious. And I think I've actually kind of figured out why this material and why these

themes are so pressing for me.

And it's the story of my parents and their marriage and, you know,

this idea of different versions of the truth in the past.

So it's a strange feeling of having wandered into the cave instead of just making

films about the shadows that the figures in the cave were casting.

Is that an illusion of missing Nobody wandering into the cave?

You plug in your entire career here.

I'm trying to just fit it all in one paragraph.

...