There are two areas outside his fictional works for which Arturo Pérez-Reverte is known: his weekly column in El Semanal and the films based on his novels. The columns have been published in four collections: Obra breve, Patente de corso (1993–1998); Con ánimo de ofender (1998–2001); and No me cogeréis vivo (2001–2005). In this chapter, it will be seen that there are unifying themes running through the articles in these collections, namely, a disillusionment with present-day Spain and a certainty that many of Spain’s woes have their origins in a lack of knowledge of its past. On the positive side, these articles also champion the ‘little hero’, the individual who battles in the face of overwhelming hardship, or the silent majority, often affectionately termed ‘la infantería’ (the foot soldiers) by Pérez-Reverte himself. The thematic link with their author's fictional output is clear. However, on a narrative level, there are differences that are noteworthy. First, they dispense with layers of fictional identity as the real author is clearly identifiable, no narrator being present to create the illusion of distance. Secondly, as they are swift reactions to contemporary events, they have a more immediate impact and cause different reactions in their readers. Thirdly, and this difference is only in degree, the ironic, some would say sarcastic, tone is more prevalent, adding to both the humour and the biting edge of the articles.

Similarly, the films adapted from Arturo Pérez-Reverte's novels (El maestro de esgrima (1992), Uncovered (1994), Cachito (1995), Territorio comanche (1996), The Ninth Gate (2000) and Alatriste (2006)) use narrative technique in a very different way. As Pérez-Reverte has said, directors involved in transferring a novel into film often view the original as a pernicious influence on the actors and regard the author as an annoyance. With this in mind, the interest here liesin what is changed when the written work is transformed to screen. The transformation highlights two areas in particular. First, the changes made indicate a different concern on the part of the film-maker.