I was born in ancient times, at the end of the world, in a patriarchal Catholic and conservative family. No wonder that by age five I was a raging feminist - although the term had not reached Chile yet, so nobody knew what the heck was wrong with me.
All stories interest me, and some haunt me until I end up writing them. Certain themes keep coming up: justice, loyalty, violence, death, political and social issues, freedom.
At the end of the day, they're happy if you do the obvious songs towards the end of the set and you've got to try and make yourself happy by doing certain songs at the front end of the set.
That's the only way I can control my movie. If you shoot everything, then everything is liable to end up in the movie. If you have a vision, you don't have to cover every scene.
I really love the process, with stage, of rehearsal, you get to create a character, and you have a beginning, a middle, and an end of story. And in television, you don't.
When you're doing a deal with someone in the southern Sahara, it's a very different way of doing business than in London. You can't sign them in the usual way because they'd end up getting ripped off, which would defeat the object of setting up a label like this.
When we analyze this war in a materialistic way and ask when is it going to end and who will be the winner and the loser, it means that we do not see the endgame.
