The Treatment

This week on The Treatment, Elvis welcomes back Alex Kurtzman, co-creator, along with Jenny Lumet, of the adaptation of “The Man Who Fell to Earth” on Showtime. Kurtzman directed the film “People Like Us” and is the co-writer of several films, including “Transformers” and “The Amazing Spider-Man 2.” “The Man Who Fell to Earth” is an adaptation of the 1976 film starring David Bowie, which was an adaptation of the Walter Tevis novel by the same name. Kurtzman tells the Treatment that while he had reservations about adapting the cult favorite, he believed he and Lumet could bring something new to the story. He says star Chiwetel Ejiofor was an ideal actor to collaborate with because of their similarly cerebral approaches to the text. And he says the pandemic afforded him the time to deepen the music choices in the series. 

This week on The Treatment, Elvis welcomes back actress Molly Shannon, who is currently starring in the Showtime series “I Love That for You” and has written a memoir “Hello, Molly!” Shannon, a “Saturday Night Live” alum, has also recently appeared in the HBO series “The White Lotus” and “The Other Two.” Shannon, who lost her mother and sister in a car accident as a young girl, tells The Treatment she began her memoir with the accident because it deeply impacted the direction of her life. She talks about the genesis of her SNL Catholic school girl character Mary Katherine Gallagher. And she says her father was her biggest cheerleader and her first acting teacher. 

This week on The Treatment, Elvis welcomes back Emmy-winning actor Bill Hader, who is also the co-creator of the HBO series “Barry,” which has just returned for its third season. Hader also was a cast member on “Saturday Night Live” for eight seasons. Hader tells The Treatment one of the keys to the distinctive tone of “Barry” is taking away the idea of genre. He says the third season deals more directly with the consequences of several of the characters’ actions. And he explains why when writing the show, Barry is often the last character he thinks about.

This week on The Treatment, Elvis welcomes director Maureen Bharoocha whose newest film is “The Prank,” starring Rita Moreno. Bharoocha is also the director of “Golden Arm,” an arm wrestling comedy. Bharoocha tells The Treatment she wanted to transcend movie genres with “The Prank” and not just stay in the comedy or thriller category. She says part of the fun of featuring the legendary Moreno in the film was having the actress play a strict teacher, a character she never played before. And Bharoocha says her characters may have been inspired by her stubborn and strong grandmothers. 

This week on The Treatment, Elvis welcomes back the showrunners of Prime Video's “The Marvelous Mrs. Maisel,” Amy Sherman-Palladino and Dan Palladino to discuss season 4 of the comedy series. The Emmy-winning comedy is currently in production for its fifth and final season. The duo discuss the contrast between night and day in season 4 and talk about reclaiming the glamor of nighttime from the earlier days of film and television. They talk about why this season is all about consequences. And they explain the difference between real friends and show business friends.

This week on The Treatment, Elvis welcomes back director, writer and actress Sarah Polley, whose new collection of essays is “Run Towards the Danger:  Confrontations with a Body of Memory.” Polley’s films as a director include “Stories We Tell,” “Away from Her” and “Take this Waltz.” Polley tells The Treatment about her traumatic experiences as a child actor on the film set of “The Adventures of Baron Munchausen” and how those experiences still reverberate now as an adult director. She says she is averse to finding a rigid, inflexible narrative about one’s personality or experiences, but is open to revision and evolution over time. And Polley says it took a decades-long journey of health challenges to get her to a place of gratitude about her body.

This week on The Treatment, Elvis welcomes director Matt Reeves, whose latest project is “The Batman” starring Robert Pattinson. Reeves also helmed two of the “Planet of the Apes” films as well as “The Pallbearer.” Reeves tells The Treatment the only way he can make large genre films is to make them personal. He says he didn’t want to make another origin story for his iteration of Batman, but wanted to cover the early years of the superhero, where he was still trying to put himself together. And he discusses the similarities between Bruce Wayne and Tom, his protagonist from “The Pallbearer,” his earliest film. 

This week on The Treatment, Elvis welcomes back actress Regina Hall who’s currently starring in Mariama Diallo’s “Master,” a horror film about the first Black master of an elite fictional New England university. Hall’s other films include “Support the Girls” and “Girls Trip.” Hall is also co-hosting the 2022 Academy Awards on March 27 along with Wanda Sykes and Amy Schumer. Hall tells The Treatment she was struck by how many people have said they see themselves in one of the characters in “Master.” She says her mother passed away during filming, which gave her portrayal a sadness and gravity that came from her grief. And she says her upcoming co-hosting gig is both exciting and terrifying.

This week on The Treatment, Elvis welcomes Academy Award nominated actor Benedict Cumberbatch, who is up for Best Actor for his portrayal of Phil Burbank in Jane Campion’s “The Power of the Dog.” Cumberbatch is also currently reprising his role as Dr. Strange in “Spiderman: No Way Home.” Cumberbatch talks about the superhero’s evolution while trying not to reveal plot spoilers for the upcoming “Dr. Strange” film. He discusses the central role physicality plays in his portrayals of both real life and fictional characters. And he talks about the two hardest days filming “The Power of the Dog.”

This week on The Treatment, Elvis welcomes “BEL AIR” creator and director, Morgan Cooper. The series, which was inspired by “The Fresh Prince of Bel Air,” is streaming on Peacock. Cooper tells The Treatment he wants to tell everyday stories of “Black normalcy” in his work. He says his influences, which include hip-hop artists and producers J Dilla and MF Doom along with photographer Gordon Parks and Roy DeCarava, find their way into “BEL AIR.” And Cooper says, if not every viewer understands the specific choices and references he made in the series, that's OK with him.