From KCRW in Santa Monica, this is The Treatment.

Welcome to The Treatment. I'm Elvis Mitchell. You can also hear the show at KCRW.com.

My guest, West Anderson, has been here for a number of his films.

You know them all, of course, Rushmore, the Royal Tenant Bombs, one of my favorites, the

Life of Aquargo, Steve Zisu.

His newest film is a departure, and I think perhaps in this way, the truest West Anderson

film ever.

Fantastic, Mr. Fox.

First of all, Wes, thanks for coming back.

Thank you, Mr. Fox. First of all, Wes, thanks for coming back. Thank you, Elvis. I'm very happy to be here.

It's interesting, too, because to go back, and I probably hadn't seen that book since I was a kid,

and to see the things you've done, like, you know, basically giving him only one son

and sort of bang it much, much more about family. It's almost as if you combined the Franian Zui stories and

Royal Dahl to get this. Yeah. Well, you know, the funny thing is when we, people have often

asked me, how did I make this my own? You know, what did I, what did I, how did I, how did I, how did I,

how did I approach it to make it mine? And I feel like that's exactly

what I didn't do. All, you know, all I, my approach was to try to make it like Roll Doll and every

step of the way, uh, working with Noah Baumbach on the script. And, and as we made the film,

I always was trying to think, how would Roll Doll have done it? in the end it appears like i've as much as i

try to do that i seem to have done it the way i would have done it anyway you specifically don't

i mean just by by the way you've sort of made it very much a family story and and that's not really

key to the way dull wrote the story at all no it's i's not. In the book, he has four children.

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