A.P. GONZALEZ
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Where do you live (City, State, or Country)?
Los Angeles, California
 
Your script stood out among hundreds of others. What was the inspiration for your story and why did you write a script instead of a short story or a novel?
Years ago, I read a beautiful novel, The Road to Tamazunchale, by Ron Arias.  I had never read a novel about everyday working-class Mexican Americans that mirrored my own upbringing in Los Angeles. Although I realized that the novel would be difficult to adapt (a novel of interior thoughts), I was excited to share a community that is rarely depicted authentically in Hollywood movies.  The protagonist in the story I call, “Fausto’s Road,” could have been my own grandfather – quirky, wise, resilient and full-of-life.  After optioning the rights, I set out to push the novel outward, creating plot and story that is suggested by the protagonist’s interior monologue.  For me, the screenplay reflects accurately on the lives of working-class Latinos in the U.S.  It’s about the humor, romance, compassion and magic in our culture, not about misery and poverty.
I’ve only thought about “Fausto’s Road” as a screenplay because the images are so strong, the characters so vivid; and I can hear the sound design and music that enlivens the narrative.  Although I first studied English and literature, I also went to graduate film school to study production. In short, I can’t help thinking in terms of moving pictures.
 
How long did it take you to write your script...and what is your writing process? Do you outline...use index cards...white board...or just start with FADE IN?
The first draft of my screenplay, “Fausto’s Road,” was written in about three months. I have gone back to make various revisions over time, but that first pass is close to the version that exits now.  I guess I related so much to the subject matter that the material flowed naturally.  I never use an outline or index cards, but I take a lot of notes on a separate notebook while writing.  These notes often “tell me” what direction to go with a character or which scene should come next. The goal for me is to listen to my subconscious promptings and let the characters tell me what’s next.
 
What is your ultimate ambition as a writer?
I’m a writer/director, and I’ve found that I like to write for others as well as write for myself.  Now that I’ve retired from teaching, I have plenty of time to write.  I’m happy working from my own material; yet I enjoy developing the ideas of others, re-writing screenplays, and adapting books.  I began my film career as an editor, and my background is in English and literature; but it took me a while to realize that – owing to that background – I’m well-suited to adapt novels and short stories.  So far, I’ve adapted three novels and one short story. In short, I like assignments as long as I connect to the material. 
 
Which film or television writers inspire you? Why?
Most of my favorite TV series have been written by various writers. I’ll just include the names of the shows:  Six Feet Under, Friday Night Lights, Twin Peaks, Mad Men, Dexter, The Sopranos, This Is Us, Black Mirror.  I like these shows because they respect the intelligence of their audience while simultaneously being very entertaining. 
 
What’s your all-time favorite movie or television show? 
I don’t have one favorite movie, but I’ve been influenced by the following great films: Federico Fellini’s La Strada, Nights of Cabiria and Amarcord.  Lindsay Anderson’s O Lucky Man. Lina Wertmüller’s Seven Beauties. Alfonso Arau’s Like Water for Chocolate.  Danny Boyle’s Trainspotting.  Guillermo del Toro’s Pan’s Labyrinth and The Shape of Water.  Pedro Almodóvar’s Bad Education, Woman on the Verge of a Nervous Breakdown and Pain and Glory. 

What advice do you have for writers hoping to win a contest or place as a finalist as you have?
It’s important to keep writing and to stay open to constructive criticism. It’s also important to understand that some people will like your writing and some people won’t (there’s no accounting for different taste).  Try not to dwell on those who don’t; but listen well because sometimes they are telling you something you need to hear, especially if you’ve heard that certain something before. 
 
What else are you working on that the world needs to know about? 
I’m currently writing a screenplay that I’ve been wanting to write for years. It’s about a couple of jocks who unwittingly fall in love at a Catholic high school during a time of radical social change. My latest short film, “George & Dorothy,” is beginning its festival run. I didn’t write this one, but I accepted the directing assignment as long as the writer allowed me to refine the writing.  Rehearsing with the actors, we cut down some of the dialogue and listened to the rhythms of their speech, making their 10-minute conversation more natural. 
 
Another of my shorts, “The Wetback,” is still playing internationally and has won several awards.  I mention this film because it’s a proof-of-concept short for my feature screenplay, “Fausto’s Road.”  I took a powerful scene from my screenplay, shortened it, and re-wrote it as a short.  This proof-of-concept approach can be a good strategy to get your feature screenplay read; and hopefully, it’s working for me now.