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.

Much more than trying to focus on the battlefield of the war, it was the central place that German doctors occupied within Nazism, the omnipotent and insane idea of wanting to generically modify an entire nation. This idea was not on the outskirts of Nazi ideology, it was the heart of movement, that's what intrigued me. Mengele is the most extreme expression of this idea.

I was reading books about the Nazi presence not only in Argentina, but all over Latin America, and time and after time this information would come up.

In terms of my father, if you have 4 children that work in film, then there certainly was a happy, positive influence from him because none us became an accountant.

The Mapuche are our indigenous people from the south, the Patagonia. They are a vey wise and luminous ancient cavitation, which is completely opposite to where Nazism was headed. In the novel [Wakolda], the theme of racial purity and the Nazi obsession with it was much more developed.

In general, even if I'm dealing with a historical subject, I begin with invention rather than investigation, because I need to understand what is going to be the voice or the tone of the story.

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.