In therapy.
the writer revealed to Dr. Abadi hard familiar trance who lived just in time to get the important literary prize.
Eduardo, in you converge a writer, a historian, a teacher.
There is a link in this history that built it as a story. It is a narrative, beyond that it is a science. A narrative that seeks to understand. And writing fiction is the same, but with a very personal goal. I wrote to understand and tolerate life itself. When we ask ourselves as historians we do on a society or a culture, when I write fiction always I am wondering about my own issues, that maybe have not entirely clear at the moment. For me, writing is a very cathartic thing
How do you think the historical film that was made? Sos professor of history, literature and hacés you write scripts.
If you go to the movies with the intention of lighting a definitive truth, we are wrong. Two recent historical films, one on San Martin and one on Belgrano, which have the virtue of opening and avoid certain solemnity and concluding certain things. The classic versions are different.
When you’re a writer, do you propose an idea or hire you for you to write what others came up?
times have been adaptations of my books, as in the case of the secret in their eyes or papers in the wind, from the film world they come and tell me “What do you think if we do a movie with your story?” John Jose Campanella raised me if I lit Metegol to work, which was based on a story by Fontanarrosa. I am writing about the Spanish conquest of Chile to eight chapters for Chilevisión, considering a novel by Isabel Allende called Ines of my soul. I called and go, but I movies not occur.
being a writer is a lesson in humility literary. You can not overload your characters. The book is one thing, the film is another.
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When you write a book you do not think that book will be a movie?
No, but I like it to happen. And I think if I would raise, ruin the thing, hinder at least.
What do you keep place when your book becomes a movie? Sos doctor screenplay with the director?
So far, yes. When the movie comes out, I took some distance. Now, the manufacturing process is a difficult, controversial, at times frustrating stage. The job of a writer is very lonely. And generally those who write literature appreciate that loneliness, we like. Cinema is collective. So this sitting down, even with the director, to discuss, to negotiate, to propose, to lose, is a good lesson in humility. There is a book that you write and then begins to have a lot of other people read books, many books as readers. And the director of the film is one of those readers. The book is one thing, the film is another. Like, if I feel that the characters, to be filmed, have more or less sentimental physiognomy of mine, that I remain calm.
That is, those mine stories dressed are as beating in each of the characters, I can empathically feel. Well, I’m there. It is such a delicate point where one allows the other to acquire possession of it to be also one other.
Yes, but it also requires good people on the other side. I felt very good working with Juan Campanella and Taratuto, who led Papers in the wind. I do not know if any manager would happen that.
It is very difficult what you do, you know?
I insist that the script is a lesson literary humility. You can not overload it with words, or overburden your characters of things said. Sin one sees materialized in the film
It should be an internal laburo in Eduardo Sacheri for a novelist I can say that. It is an internal work also on a psychological level, emotional level.
In our daily life, no doubt, we think and feel deeply, but do not talk to that depth, hide with language. In general we tend to neutralize a lot with what we say, not what we do. If our word becomes artificial, the viewer takes off.
Do not want to be saying messages, you want to tell stories.
That’s what I interests: telling stories. I think I do with what I write what I like I do to me. When I read a book, I want you to tell a story; when I see a movie, I want you to tell a story. Among us, who I am I to leave a message?
Who is anyone to leave a message? It has to do with the solemn.
I think so. This does not mean you do not love me to come and tell me a reader: “I read your novel and shot me thinking about some of my things.” One feels that person found the message. That is another issue. And I like that pass me the same as a reader.
How did you choose to study history?
It was the only subject I liked in the National Moron, the Dorrego, one of the oldest schools in the west of the Great Buenos Aires, which is where I come from. And besides, I relate to my grandmother, a bookkeeper family histories. She was the daughter of Spaniards, married to a Spanish and born here. I asked her and she told me the whole family constellation with taste.
enjoyed the story.
And I enjoyed listening. Especially after the death of my father …
Was it early?
Very early cancer. I was ten years old. It was a very deep wound in my childhood. And after that, my mother, a dentist, had to go to work every day and at all hours, and my grandmother came to occupy an important place in everyday life, in wait for the arrival of the school. I always had a strong curiosity about our history. And also my parents were always very willing to satisfy that curiosity. My dad died in ’78, but I remember at home talking politics. My grandmother and my dad, who were radical, answered me. It was not that thing “you’re a kid, this is not for us to talk to you.” That generous inclusion was also very useful for my curiosity.
To be a historian, you have to be curious. And curiosity has to do with the question, is not going so already, but wonder if it’s that or may be something else. How important are your grandmother and your father in your story. When we leave early a loved one and leave that deep mark, if she tells me the story I bring it back: “Tell me the story of which is not, ponele words to his being.” It is a way of allowing presentificar and develop such early departure that generated us the destination.
The story has something restful. You tell stories, as I did from the twenties, he recreated this role.
My father died very early cancer. I was ten years old. It was a very deep wound in my childhood.
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