It was a new experience for me because I had never adapted my work for the cinema - nor had I ever collaborated with someone else in the writing. Samanta Schweblin: We worked for almost a year over Skype, writing 4 or 5 hours a day in a very methodical and consistent manner. Samanta, what was the collaborative process like for you, and what was the most difficult part of translating your words to film?
Without a doubt, those were the two things that compelled me to adapt this work and beg Samanta to join me. That feeling seems to be so universal and so human.īeyond that, I intuited how that inner voice could be adapted - it opened a new world for me on the visual level imagining how to unveil this story visually and through the ways, the narration would dialogue with both the protagonist and the audience. They want to keep enjoying and exploring their own life while discovering more about themselves, yet they can't be distracted from their child in order to be there when needed. And that same feeling is reflected in the parent. You want them to grow and enjoy life, but at the same time, you want to be there the second they need you.
If I could point to clear reasons for that feeling, first, I would say that I wanted to explore the fear portrayed in the novel when it comes to the "rescue distance." That's the name Samanta gives to the sensation every parent experiences, which speaks to the never-ending struggle to find the balance between giving your child their freedom and protecting them from the world. For me, it was a discovery in every sense of the word. This had never happened to me before, and I didn't read the novel with the intention of finding material to adapt. I felt an immediate emotional connection and desire to make it a film. Screen Rant: What spoke to you about the novel Fever Dream that inspired you to turn it into a film?Ĭlaudia Llosa: I remember reading Fever Dream and having an almost physical reaction that was so strong and piercing.
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