Marta Sánchez

Marta Sánchez Guillén spent years timing comedic punchlines in closed writers' rooms before the industry recognized his signature on movie posters. In 1999, he joined the team of 7 vidas with a notebook and the relentless urgency of someone who must deliver fifteen pages of pure comedy every Friday. He had cut his teeth in the newsroom of television news and in the daily rhythm of the talk show Lo + Plus.

Nobody gave her a single joke.

Writing for performers like Carmen Machi or Gonzalo de Castro demanded surgical precision. The laughs were recorded with a live audience on set, and any weak line died in front of two hundred people. So he learned to trim the scripts until only the meat of the gag remained.

The Tyranny of the Ninety-Minute Gag

During the golden age of weekly prime-time comedies, Spanish television demanded marathon episodes of ninety minutes. It was a technical anomaly that horrified American writers used to the twenty-minute format. Marta Sánchez took on that exhausting pace on the spin-off Aída and later on the script coordination of Allí abajo alongside Olatz Arroyo.

Because keeping the audience's interest for an hour and a half without losing the comic punch required inventing subplots non-stop. The series averaged more than four million viewers per week in its first season.

And the leap to film was the logical step after such training.

In 2017, she co-wrote the screenplay for Thi Mai, Rumbo a Vietnam. The film took Spanish-style social comedy to Southeast Asia and forced the team to adapt the comic codes to the scale of the big screen.

The Assault on the Box Office

In 2020, she co-wrote the comedy Hasta que la boda nos separe with Dani de la Orden. The film earned two and a half million euros at the box office just before the health crisis emptied cinemas in March that year. But the general shutdown didn't slow her pace at the keyboard.

The box office doesn't give second chances.

In 2021, she presented the series Supernormal for Movistar Plus+ as its creator and executive producer. Directed by Emilio Martínez-Lázaro and starring Miren Ibarguren, the fiction drew on her personal experience of the impossible work-life balance of a bank executive. Those twenty-five-minute episodes marked a shift in the technical pacing of her writing.

In 2022, she wrote the feature film Todos lo hacen, directed by Martín Cuervo. And in 2023, she delivered the screenplay for Como Dios manda, which brought actor Julián López back to bureaucratic and social farce.

And the formula worked again.

From Comic Artifice to the Edge of Drama

Far from situational humor, she contributed to the hospital series Madres. Amor y vida over 2020. That assignment meant tackling the harshness of medical wards without relying on the escape gag.

In 2024, she built an unusual run of film releases. She co-wrote the script for Menudas piezas for director Nacho G. Velilla, adapted the romantic comedy Pared con pared for Netflix, and finished the screenplay for Sin instrucciones for Warner Bros.

That same year, in 2024, she joined the writing team of the series Las abogadas on Televisión Española. To reconstruct the attacks on the Atocha labor law office in 1977, the writers went through more than three thousand pages of court documents before shooting on location in Madrid and Toledo.