Friday, March 4, 2011

Sample Memo Company Vehicle

Interview with Carlos Trillo-2

Skorpio 's birth and subsequent years (1974-1978)

In July 1974, the Argentine comics scene has been rocked by a historic event: the editions of Alfredo Record Scutti publish Skorpio , size smaller than that of Columba, but a big improvement in form and concept of the comic. Fine print, hand lettering, acceptable colors when not excellent, timely editorial, for better (all of these reasons) and bad (Scutti retain the rights to publish comics) Skorpio becomes the new reference point for authors and readers Historietas. And success will be that published by other magazines will follow shortly Record: Tit-Bits (1975), Short Maltes (1975), Pif-Paf (1975), plus special issues and other magazines in the years after . How was the meeting with the Record? She was the call or to offer itself as a writer?

En primer lugar refutaría of the historic event: Ediciones Record was only a copy of the journals had Oesterheld with Editorial Frontera. If you look at the first numbers you see: The Corto Maltese, who took the place of Sergeant Kirk , this time with Pratt as sole author and the corresponding change of scenery. The Damned of Saccomanno and Mandrafina, good series, followed the Cayenne of Oesterheld and Haupt, Derek of Saccomanno, Mandrafina and a cartoonist who did the pencils [1] , that looked like Ticonderoga . Watami seemed to retake Ticonderoga American Indian stories. A Buster Pike of Oesterheld and Solano and replaced him assistants Precinct 56. Patria Vieja of Oesterheld and was emulated Roume (going a little further back in time) by Alvar Mayor . And Gimenez draw a series airplanes in World War II in the manner of Black Poppy of Oesterheld and Solano López [2] . And - the icing on the cake - The Eternauta was, as had been Zero Hour Week, the big hit Record. The authors were very influenced by the work by Oesterheld and his way of telling, so an editor to ask you to follow that path for many of us was a blessing.
had been ten or more years, though, and the broad language of the comic had become more adult. There was a reading of initiation.
And apologies for the digression, I alleged: Guillermo Saccomanno had begun working with Record from the beginning, I remember that Zappietro contacted by Eugene (Ray Collins), author of Joe Trigger in old Misterix (which drew an unforgettable western Carlos Vogt). Zappietro was a professional writer of great renown, who had worked not only in April and Yago Editorial - the editor of Misterix and Red Lightning in his later years - and who worked in that period Editorial Columba. At the beginning of Record was something like the editor and asked him autoconclusivos scripts and ideas for new series to William. I, for one, was starting that race rare for a comic writer who was to write scripts in journals that were not comic (García Ferré, Satiricon, Richard Roe, the newspaper Clarin, one shortly after the Humor Magazine) and was already working with Alberto Breccia en lo que serious this Daneri, Altuna y en la diem pulls EL LOCO CHAVEZ. Prepare a self-contained guión de Ciencia Ficción y en Record Saccomanno me this.

Ray Collins was a prolific writer, I loved it in Italy but was never much loved. According to a legend as well as novelist and screenwriter was also a police inspector. Even in light of his work in drafting Skorpio you have just described seems even more unlikely to make another job. Do you know if this legend had a foundation? I think it's impossible to write all those pages in active service.

Ray Collins, Eugene Zappietro was Comisario de la Policia Federal Argentina. Y novelist, a great author y de Historietas. His Joe Gatillo with Vogt's drawings, is unforgettable.

Eugenio Zappietro / Ray Collins - photo by Juan Barriento

Remember what was the first comic book he wrote for Skorpio ?

was a doce Páginas de trabajo, a medida que pedia the editorial, self-contained, unitary, the ustedes say "release" of science fiction spaceship. I do not remember the title but, as I drew Juan Gimenez (whom I knew personally much later) was collected in a book of short stories designed by him and which was published in Spain [3] . Not be difficult to find him. The story under a pseudonym. I, in 1972, had written a few novels that later - as Raymond Chandler said of his stories that were germ longer stories - "cannibalize" to comics. And one of those novels had signed on as Lester Millard. I used that name and as such I became when the story appeared in Skorpio.
In case you're interested, the two novels is called Mortal Circle (the Lester Millard), which became, with major changes in the storyline of Light & Bold to draw Jordi Bernet, and ; Mouse Trap (a certain David Grennell) that helped me to not get lost in the long adventure of GREEN HARVEST (Frutto Acerbo), drawn by Mandrafina. The publishing house that published, Finisterre, was an invention of a publisher friend, Carlos Marcucci, Guillermo Saccomanno and me. The novels pretending to be European and American authors, por eso los seudónimos. El Knutti Wellhaven Saccomanno de haber sido el primer has de author Conolly sueco que se en Argentina, antes de la literatura boom Escandinava negra que es tan fascinating.

There is conflicting evidence about the nature of the Record. Some came into practice as service to make editorial cartoons that were then sold abroad programmatically. If we accept this hypothesis, the Eura was thus a kind of Marvel Italy argentina. In support of this thesis could be the existence of the French magazine Karakal (but also published Italian material). What is your opinion? According to her, and Scutti Zerboni socio suo volevano lead to an alternative vera oppure ai fumetti in Argentina come agenti volevano strutturarsi?

Skorpio was an Italian invention, none other than Alvaro Zerboni, who by then had returned to Italy and was fotoromanzi international agent of the boat. Still related to the Argentine market with the Record editorial, which appeared, from the early '70s, magazines and erotic gothic novellas. In them, under the generic title of "Photostory chilling" Killing had launched , Ultratumba , etc. In those times weekly huge comic book sales in Italy, proposed to the editor to produce a working comic, LancioStory , which later joined Skorpio. The prices of most drawing script Argentina were much lower than prices in Italy. This heralded a good deal for a production made entirely in Argentina. Zerboni knew the Argentine market for years, had been an illustrator for the legendary Robin Hood collection of juvenile novels, and then editor and distributor of graphic novels . In his review Totem of the '60s, was repurposed to Hugo Pratt (Ann and Dan ) and had published, for example, drawn memorable works, for example, by Garcia Seijas, a young man who had drawn his interessante Border Tom on the Prairie. Totem was short but it was a breath of fresh air in these times when Columba was practically taking over the Argentinean market. In Buenos Aires, Alvaro had an old employee of the missing editorial Argentina, Scutti, and with his help, he was "in situ", working with fotoromanzi, began production (which became a thousand pages per month ) for the Italians of the boat.
As all this mass of material magazine that he had harbored in Argentina, Zerboni invented Record Publishing to publish first and then Skorpio other titles. His idea of \u200b\u200bpublishing The Corto Maltese at the top of the first issue of Skorpio revived in many former readers who longed for their publications of years ago, looking forward to reading comics. And as in material production were the very Oesterheld, Zappietro, Arturo del Castillo, Jorge Moliterni, Lito Fernandez, García Seijas, Solano Lopez, also lived as if, somehow, the missing and Zero Hour border again a vivir.

In the early 80's magazines published English versions of Precinct 56, El Eternauta , etc.. version dell'Eur [4] . Most of the comics were not sold directly in Spain? It seems strange that products of this quality could only be of interest to Italy, which like taste in comics is quite similar to Spain (although in fact at the time the popular English comic superheroes had been swept away and perhaps lack that ' coupling that here in Italy could provide The Brave Il Monello and ).
Record I stopped working with the end of 1983. Surely, if not erased the signatures, will be out in Italy that the last episode of Alvar Mayor that is made in early 1984, when the artist finished his work. From that date until 1986 I wrote enough for Toutain Editor of Spain made the first publication of my scripts in their journals (1984 - then Zona 84 - Creepy , Comix International Argentina and kept doing El Loco Chavez and some stories Editions of the Magpie, the erotic magazine and Don Leather Strip, a publication run by the very interessante semiologist and poet Oscar Steinberg. Toutain had contacted me in 1982 and it was he who first published The Legend of the Four Shadows (drawn by Fernando Fernandez), The Last Recreation (drawn by Altuna), Custer , Light and Bold , Ivan Piire (drawn by Jordi Bernet). In 1986 I contacted the Eura Filippo Ciolfi to work directly for them. These English magazines you mention must have had very low coverage and very little selling because I do not remember. Maybe the former partner has made a Alvaro Zerboni, Francesco Rocca, who was in Spain in those years and once had an editorial called New Frontier, but the truth is I do not know. What I do know is that the Eura, when I started working directly for them in 1986, were not interested in being agents of the material in other European countries and claimed an exclusive right only for a time not too long for Italy. Surely its attempts to sell in other countries had failed. France, which is the European market, never appreciated the Italian comic, he was called fumetì, with accent on the í and criticized him because - say - the Italians (and part of Argentina school a la producción que sale at Eura) dibujan demasiado de look y Hacen Historias de aventuras with parlantes cabezas.

In your case the work was to record the result of direct collaboration with the designers (some of them, at least) or simply called Scutti The screenplay then went to the artists? Some authors point out that at the time met the others only when they went to collect the fees.

Los guiones if llevaban a la editorial y ellos eran, Scutti y que hacia el the person editing the material, María Teresa Lentini, decidían home who are or were rechazados estaban bien. María Teresa was a fine person, clearly and with authority to discuss with the authors and twist his vanity. Scutti No, I understood what he thought Zerboni but was unable to transmit it. I always thought that Lentini was a mastermind who ran the themes, structures and ideology of the stories with great ability. Once approved the script, I went to the cartoonist. I was lucky enough to work, in most cases, with artists he knew, and I could always talk to each other and exchange ideas on how we thought everyone who had to develop the story. Even some of the artists proposed by me to the publisher. My expertise in Garcia Ferré in Patoruzú , y en en Satiricón Mengano me habían mucha contactado with people.

For Skorpio and Tit-Bits She has written many series and miniseries [5] than "unitarios" But I think the His collaboration with the Record, at least in Italy, is identified mainly with two works together with Enrique Breccia: alvar Mayor and El Peregrino de las estrellas [6] . In both i almost conclusions and sospesa, eat it fossero ancora molto rimaste sew da raccontare: le due sono in effetti conclusive series Lei AVEVA in mind come in origine ci Furono oppure altri motivi della loro base alla chiusura?

Eura I think it was, ultimately, who decided on what material was published in Italy and what material they were not interested. Probably, in the case of The Pilgrim of the Stars it was they who bowls the series and that was abruptly interrupted production. I, on the Record, they said they had to finish because I wanted to give you another task to the designer and needed more episodes of Alvar Mayor and production of Pilgrim hindered this need. The fact that in Italy there was a higher authority than that of the authors Record was for just one intuition rather than a certainty, as the Argentine editor working without explaining anything about the resale abroad and never, until I traveled to Rome for the first in 1979, had seen a magazine Eura.

Sempre riguardo The Pilgrim of the stars : only recentemente, grazie della Casa Editrice all'interessamento Allagalla, abbiamo il dodicesimo seen capitolo inedito per trent'anni rimasto. Lei sa come mai non venne pubblicato dall'Eura?

Now that you mention it, it is likely that the Eura has rejected that story is the cause of INTERRUPTION Series Record. But this mysterious fog surrounding all the acts to remember even that I have learned through Allagalla had a new chapter.
There was a series, Ernesto García Seijas and I liked a lot, which also had an abrupt end at the request of the editor. But, and here that we received permanent falsehood glassy authors in the Record meritorious rather than truth, I was told it was because he did not like Garcia Seijas Ernesto and was told that I thought the series my crap for drawing. Just SRGS drawing, one of the most love! Alvar Mayor , however, was interrupted when I decided not to work anymore for Ediciones Record, in late 1983.

was the series di Ernesto García Seijas chiusa venne che prima del tempo? The Little King, Reno Reagan (ma che non sono l'abbi Scritta Sicuro Lei) or un'altra?

Il titolo era The Little King ("Il piccolo re, ma non sono Sicuro che questo fosse il titolo in Italy [7] ). I did not write Reno Reagan.

addition to the comics she has also produced a comic book (by the way: it was called El Club del Comic or El Club de la Historieta ? Sources disagree). Appears on Skorpio from number 15 in December 1975 and other measures moving in the magazine Tit-Bits . Unfortunately I have not even read a number ... Saccomanno and she followed a more critical approach, or historical?

Primero apareció EL CLUB DE CARTOON, a section that was published in Skorpio with news and comments from the world of comics and news from the publisher. Shortly after beginning to publish the story in CARTOON Tit-Bits. In this second section, with Saccomanno began a brief history of comics in the world to quickly begin writing the history of comics in Argentina. Much of these items were used when we called the book CARTOON HISTORY OF ARGENTINA, in 1980, and has been published in Italy.

9) the Cartoon Club and The Cartoon History poi sono di tornati used when Scrivere Cartoon History of [8] or sew hanno seguito le due Percorsi fun?

were always separate. Tit-Bits published one and the other Skorpio. Only section Tit-Bits was useful, very useful when writing history, that we should write Saccomanno in very small because they had to bear part of the '80 edition Lucca, dedicated this year to Argentina. Lucca that year there was a large delegation of our country: Juan Zanotto, Mandrafina, Macagno, Breccia and father hijo, Oski, Fontanarrosa, Caloi, Barreiro, Solano López, David Lypszic y yo (Este y me olvido de algún probable).

Ok, we talked about Skorpio because it is impossible not to mention it and I think that is the springboard for his international career, but the 1974 is a key year for another reason: She realizes A This Daneri with Alberto Breccia. How did you meet Breccia? I've always been amazed at the willingness of the Argentine affirmed designers to lend a hand to writers who had not yet reached their reputation (eg Zanotto and Solano Lopez giovane che col collaborarono Barreiro, e poi negli anni ed successivi Del Castillo Enrique Breccia with Slavich and Mazzitelli).

A Alberto Breccia I met him in Satiricon in 1972. We took a coffee, talk about comics, is that he was reading some things I wrote it in 1973 called me to propose that we made a series of brief episodes. One such Daneri was , liked it and began to draw away. Regarding your surprise about the availability of the artists I can say that in 1974 or 75 Oesterheld political activism I was away from the production - say - commercial and channel them into accurate stories with ideological meaning in magazines and newspapers "party" (the weekly montonero "The Descamisado" the newspaper montonero "News"). His passing away in 1977 ended the possibility for older artists, to have his pen unrepeatable. Everyone then had to find new writers, I guess. And Ediciones Record was missing in subsequent years, some important authors, such as Eugenio Zappietro, which began selling his work in Italy without intermediaries. It is possible that the market needs were inventing new authors, some great talent, of course .

La realizzazione di One such Daneri piuttosto Tormentata fu, da mindestens Quello che posso desumere keeping him di realizzazione degli date arrivati \u200b\u200bepisode in Italy: in 4 anni, dal 1974 al 1977, Furono realizzati only 8 episodes. Fu scroll thing (forse nasceva conclusive come storia e fu seguito continuato to the success) or Furono dei problemi ci?

Nothing tormented. It was a very considered and responded to the needs of Alberto Breccia. At some point he began to do other things to live and Daneri went to the drawer of memories. There was a series designed to have an end. Top episodes were small. Y a bit of everything what we wrote in those years was related to a production system to one or two episodes every month taking into account that had a strong finish. Nobody thought at the end and were interrupted because the authors were in search of new horizons or something.

Gli anni '70
ovviamente sono gli anni della anche di Nascita El Loco Chavez, forse il più personaggi Suo important, or at least those with intellectual Maggiore care if it identifies. A quel tempo El Clarin stava molto sulle strisce By pointing to the incentivava fumetti e produzione nazionale: Lei e Altuna you came contattati or Foster proporvi voi?
In 1973, Clarín had an editor who realized that the daily strips produced in Argentina were most appreciated by readers of the old syndicate strips American (Mutt & Jeff and the like). slowly removing these productions were imported and replaced by things made by authors. Albert Broccoli with Fafa Wizard, Caloi with Clemente, Fontanarrosa and Crist with his daily cartoon, with Viuti Teodoro & cia, Ginzburg, and Tabaré Abrevaya with Diogenes and the tramp , became a necessity for those who read the newspaper. It was known that all the reading began looking first and foremost jokes cover.
There, sometime in 1974, realized that the only thing that jarred was the cartoon "serious", which was a complex and checkered past story written by a noted historian. They made a specie of competition. A Altuna and I told Albert Broccoli, one of the innovators of the page. We present, therefore El Loco Chavez, who started out on 26 July 1975.

È difficile Scrivere a striscia Quotidiana? Necessitas di iniziare e finir a scena in vignette quattro è tre or a limit or possiblity Invece che offre a struttura delle più lunga non dà?

El Loco Chavez , we realized the shooting, had to have a first little picture to remember what had happened yesterday, a development and a gag with suspense to engage the reader tomorrow. The stories had a rundown, we knew where to start, what happened and where it ended the actions of the characters. Exercise gives rhythm to things. Readers took several months to feel trapped by what happened in El Loco. In the first story the character was corresponsal journal Viajero y eso no muy resultaba atrapante. Pero en un moment if I ocurrió traerlo therefore Fuera por un par de meses, y Ahí grit Eureka!. Habíamos encontrado para seguir adelante el costumbrista tone during los años que iban to come.

Although I have always seen Loco Chavez happy and carefree as a series, it is known that there was a great care on your part to avoid dealing with some issues considered "dangerous" (you could not even speak the price of vegetables). Even an author like Robin Wood, who calls himself completely disengaged, he received an unwelcome visit of people who asked Helena is facesse bolscevica propaganda (!) [9] . Ci sono mai stati di intimidazione diretti almost Lei, oppure ad all'editore Altuna, avveniva frequently eat in Argentina in quegli anni?

The editor of preventive censorship exercised daily. Nobody wanted to do twice the strips, because they are generally delivered on the closing time. We were therefore used to it and understanding what things could publish and what not. I remember an episode of external pressure, such as a radio program with the dictatorship feathering to levels unthinkable where they said they did not show a good example of citizen readers. But in the day nobody said anything. I worked in other print media more risky in those years, editions of the Magpie, for example: Humor , Hurra, Superhumor , The Pendulum and that if they earned more than paranoia. We all have saved some anonymous letter arrived in Humor saying we should be careful or we were going to go very wrong ...

The big stories of the Loco Chavez , che compare her series Skorpio Extra was a ristampa delle strisce or was unreleased material?
MAJOR FEATURES was something of a Sunday page of the Loco. Occupied half a page once a week, in another section of the paper, while still on frame strip from Monday to Sunday. It was published weekly first but soon became fortnightly, alternating with a large Argentine cartoon character who had gone through several magazines: TOILET PEREYRA, Roberto Fontanarrosa.

El Loco Chavez venne pubblicato its El Clarin dal 26 luglio 1975 to 10 novembre 1987. Facenda a fast Calcolo e molto approssimativo my che manchi qualcosa seeded voluminosi pur nei libri dell'Eura. Per l'edizione avevate Optatus mat per one selezione delle storie di Loco? Corre voce di un'avventura ad esempio in cui investigates inedita sulla morte di Hitchcock.

What Eura prepared for a "montage" of the strips was a condensed version of the Loco. Removed the very long scenes of conversation in bars and in writing, that would have been too heavy for the reader of a magazine. I also eliminated the redundancy of these tables on the strip remembered what had happened yesterday and rewrote the dialogues with a little more dynamic to be read in one sitting and not at three or four bullets per day.
Hitchcock's story is the first adventure of the Loco as travel correspondent, that is, which began appearing in July '75. It was an intrigue with the master of suspense. Alfred Hitchcock died in 1980. El Loco started out well after the magazines Eura. Was removed, like so many other things untranslatable history. It was more difficult to adapt the comic strip magazine to write the original cartoon.

a personaggi è straordinario Pampita. Il disegno di fa a ne Altuna ideale beauty, irraggiungibile, eppure il suo charme limited to non si è fatto che una donna bellissima, molto PERSONALITE Pampita has a forte, è veramente a three-dimensional personaggi [10] . C'era forse l'base alla sua donna ispirazione a really esistance (or magari in più donne), Robin Wood come with FECE Helena?
Altuna used to say, to impress the questioner that you're asking me now, Pampita was a girl who not only existed, but posed as a model for him. It was a joke. He drawing, drawings, beautiful women with personality, and their presence in the cartoon was always "dangerous", so it had to offer with a dropper. If it appeared by far the star began to fade. When this happened, we had to fight them, or she would travel and the crazy resume its role. No, there was not my reality or that of Altuna, unfortunately.

a television series esiste anche da Tratt El Loco Chavez, realizzata nel 1978 ma di short Durat. Com'era? È vero che fu dalla chiusa Hugo Perchè political censorship was a cattivo esempio per gli Argentini (di non dava l'impressione il suo capo rispettare Balderi)?

The series, a sort of soap opera with lots of outdoor, was released by a major television channel and, indeed, was air lifted by the military government because it was a bad Crazy Argentina, a terrible example: le liked and respected women too little to his head Balderi. When the air we took a dislike episode in the production company that conducted the program because, not to pay us, we were threatened with the military. Our lawyer who was present was furious and said he would make public the threat. The producer is scared of its own advanced on dangerous ground and ended up paying at once what we had. Obviously, the attorney had not realized that they were "using the names of these monsters in vain." And if I use this phrase because, in his omnipotent power over life and death of citizens, the military felt God.

(2 - continued)

[1] Rodriguez Uzal, disegnatore has Collaborate with moltissimi che altri colleghi Argentini ( Lito Fernandez in primis).
[2] This is obviously Ace of Spades written by Ricardo Barreiro.
[3] In all probability this is the story castigos Dos para el Cobarde pop up Tit-Bits 7th of January 1976. The book referred to by English Trillo El extraño juicio a Roy Ely published by Toutain in 1984.
[4] The image is from a kit Dossier Negro 165 (Norma Editorial, 1983)
[5] Some title Agent "None" designed by Alberto Breccia, Detective Agency with 12 Perez D'Elia, Tahlia with Tyler Garcia Seijas (these are the names which have come in Italy Nadie , Detectives' Studio and El Peque ñ or Rey )
[6] Noto on Lanciostory stars as Robin , have recently had a considerable volume reprint edited by Allagalla that has restored the original title and dialogues.
[7] See footnote 4.
[8] fundamental historical text written by Trillo in collaboration with Guillermo Saccomanno. Born as a catalog of the exhibition on Argentine artists held at the Fiera di Lucca in 1980, was expanded to become a real essay published by Editions Record. Published in Italy by Edizioni Proglio.
[9] V. Fumo di China 26 September 1986.
[10] To be sure, in Loco Chavez all women are outlined in a very realistic and not be limited to boundary elements.


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