A Quote by Lucia Puenzo
When I started writing the script I thought that maybe someone else would direct it, but then I started to fall for it so much that I left the other project and I put all my time on The German Doctor.
Related Quotes
It's great to be excited by your profession, whether you are a doctor or a writer. I started writing books when I was in medical school and, by the time I graduated, I realized that writing was more exciting to me than being a doctor. And if I tried to be a doctor and a writer, then both would suffer.
Writing is very much an emotional process; it requires you to be very in touch with your feelings. That is the opposite of what you're taught as a medical doctor. We're supposed to be detached and logical. Maybe because I started off as a writer and then became a doctor, I'm able to integrate those two.
In the case of my second film The Fish Child (El Niño Pez), I had written the novel about 5 years before I made into a film. In the case of The German Doctor I had published the novel a year before I started writing the script, I even had another project to shoot. But I had this idea of the powerful cinematic language from the novel that I couldn't let go of.
I was approached by the filmmakers. I didn't know much about the project ["Selling Isobel"], and the more we talked, the more they started to confide in me. I read the script and thought it was really interesting, and then a week later I discovered that this wasn't just any old script, this was actually Frida's [Farell] story and she was trusting me to tell it. I felt very privileged.
When I first started writing, I used to listen to music all the time because it would make time pass more quickly. And then I started to wonder if the music wasn't affecting my writing in ways that I didn't necessarily intend.
The hardest thing for me is getting started. If I'm writing a script, really 90 per cent of it would be just walking around, climbing the walls, just trying to put the idea together. Then the final 10 per cent would be writing it.
I've never thought that I would see any man of color, not just a black president, but any man of color, I never thought that I would live to see that. I thought maybe my grandchildren would, but I never thought I would. So when Barack Obama first started to run I was like, "I've never heard of this guy - he probably doesn't have a shot." But then he started picking up steam and that piqued my interest.
I started acting when I was 9. I did smaller parts here and there as a kid, and then as I grew older I started resisting it, because I didn't like the idea of being, at the time, number four of the Skarsgård actors. So in high school I majored in science and was like, "Maybe I'll do something rebellious and become a doctor."
As I was writing 'Insidious 3' I started to fall in love with the characters and the story. I became very possessive of it and I didn't want someone else to do it.
I would see b-boys breakdancing in the hallway, I thought it was cool. I started practicing in my living room, then started battling, and then I joined a crew, and we started getting into competitions. In fact, we still battle - for fun now.
When Time got rid of my column, I thought it was all over. It was really sad. And then, I just started pushing it to lots of places. And I thought someone would run my column, I thought it was popular, and no one wanted it.
I started writing when I was around 6. I say 'writing,' but it was really just making up stuff! I started writing and doing my own thing. I didn't really know what a demo was or anything like that, so I started getting interested in studio gear and started learning about one instrument at a time. My first instrument was an accordion.
If you put someone in a room with no script to direct, they're just going to sit there. Writing scripts is the execution for a show. Then the director takes that and hires people. It's like trying to build a house without any bricks. You need the script. I could build the house, but I have to know how.
Maybe nobody has a right to tell anybody to shut up. Maybe this is how wars get started, because someone tells someone else to shut up, and then no one will apologize.
I started writing sketches with Dennis Kelly, who I ended up writing 'Pulling' with. We entered a BBC competition and did quite well, then started writing bits for other people's shows. You wheedle your way in, write pilots and eventually you end up writing a sitcom.
I can easily say "no" to a project if the script isn't great, but when the script is good, then I start asking the other questions. Who's going to direct it? Who's the creator? Who are the actors? When are we shooting? Where is it shooting? All that kind of stuff.
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