What I'm most interested in is not necessarily the wound, but the scar. Not how someone is wounded, but what the scar does later.

I have a love/hate relationship with the internet. It's obviously the central tool of how I work, and how I keep in touch with all the writers and then producers that I'm collaborating with. Skype saves my life, you know.

Ask any human being alive if they're the same person they were seven years ago and they're going to tell you they aren't.

As a boy, I wanted to be the Peruvian Diego Maradona. Sadly, Peru hasnt made the World Cup since 1982, so I guess I did well to choose something different.

Meaning can be usually be approximated, but often by sacrificing style. When I review my translations into Spanish, that's what I'm most concerned with, reading the sentences aloud in Spanish to make sure they sound the way I want them to. To be honest, I much prefer being translated into Greek or Japanese; in those cases, you have no way of being involved, and no pressure.

A lot of attention has been paid in Latin America to the new generation of nonfiction writers, authors like Julio Villanueva Chang, Diego Osorno, Cristóbal Peña, Gabriela Wiener, Leila Guerriero, Cristian Alarcón, among others. These are writers doing important, groundbreaking work. So the talent is there, as is the habit of radio listenership, and what we propose to do is unite the two. We want to have these immensely gifted journalists - men and women who've already revitalized the long-form narrative - we want them to tell their stories in sound.

Peru is a country where more than half the people would emigrate if given the chance. Thats half the population that is willing to abandon everything they know for the uncertainty of a life in a foreign land, in another language.