DAGO Interview with Carlos Trillo-1 Formation and early work in comics (from 1964 to 1974)
on several occasions said that your favorite writers at the time of his childhood were Dickens, Melville, Stevenson, and most importantly Salgari and that your imagination has developed immagine anche di classe compagne you or the teacher di inglese dai rapita pirati. Quando era bambino mai Pensato has Scrivere di qualche romanzo?
learned to read before starting school, I was very curious what they said they saw these characters in stories and in magazines. After six years and had begun to read Donald Duck magazine for our generation, is still a legend. Curious that impressed me most were the stories of what I called "the Walt Disney good." I was very interested in Mickey Mouse and filled me with puzzlement that I would have liked ducks and other ducks, as if that Mr. Walt, who was the one who put his signature to all, have wonderful moments of inspiration and moments of dull routine. I still remember, bullet by bullet, history in the Andes with the square eggs made by "Disney knew how to do things." They spent many years and was in Paris, I think that in 1979, I found a great book that compiled the best stories of Carl Barks. Sure! Disney was not the owner and creator of this world amazing. And Carl Barks was the real author, unknown to readers of the '50s.
As I was poor student in math and science, I was very good in lingua, in grammatical analysis, and several years later, in literature. readings of letters-without-pictures arrived a little later. In my house nobody read, but I wore glasses from a very young and when you go to play soccer and the danger of breaking those glasses that are focused in only my eyes, I went swimming (the swimming was far or I could not go every day), or came home to read and listen to the radio.
radio, before television in Argentina developed slowly and did not have in my house until 1958, was wonderful. In the afternoon I did not miss a single episode of Tarzan or Sandokan, two sets that lasted many years and that was killing the development of television.
And the books were coming, I said. First the most simple and exciting as Salgari sagas, the Sherlock Holmes, the Fantomas. And of course, in the same libraries where these titles appeared, were also Stevenson, Don Quixote (short, not much, but for short) for children, Verne (who, I'll never know why I could never bear). The Oliver Twist and David Copperfield was the great revelation of my eleven years. Dickens was more intense, more "brutal" than all the others, the things that happened were not imagination, y niños que tenían amargas realidades sufrían, toda a revelación.
We know that among your favorite comics are those of Donald
, and in a conversation with Luca Raffaelli regretted that things would have been counted children when they were actually some good adventure stories with a very solid system. Referred mainly to the work of Carl Barks or is there some other story in particular that stimulates his imagination?
De Disney, te dije, I loved Carl Barks. And the drawings of Floyd Gottfredson, that Mickey was the "real", no pants, no modern cars with an enemy's leg. But Mickey was too fair, kind and fair, an American hero like Alan Ladd. I liked the ducks.
Ducks and three magazines also on the editorial April Cesare Civita: Kitty , little pockets Library and El Diario de Mi Amiga .
Kitty's character was a remarkable invention Oesterheld early you do not know much because it was not a cartoon. It was a story that was published "written hand "with italics drawn one by one and well illustrated by a great illustrator of the '50s and much more: Csecs. And in his review - which was coming month and punched - appeared texts of great writers - created special for publication, with beautiful characters, illustrated by high-level designers as Alberto Breccia, to cite one that is known in Italy (and which drew stories Doggy Doctor, who was a doctor of the animals in the forest.)
The library was very small little pocket format and published a story in each of its issues - the unforgettable author Beatriz Ferro, a precursor of great literature for children that developed after the Argentina - also illustrated by excellent artists.
and El Diario de Mi Amiga, that children would read a little boys because they were hidden stories "for girls" with great stories of adventures starring provided by a child. Among the illustrators of El Diario de Mi Amiga were Breccia and Hugo Pratt and these materials are poorly disseminated.
Verso gli otto anni (nel 1951 quindi circa) il conobbe Lei fumetto realistic with you Riviste d'avventura della Casa Editrice April gestita che era da Cesare Civita fled to Italy and the racial laws of the Jews along with other members, Levi, Terni and Loewenthal. At the weekly
Salgari (April 1947) was followed
Misterix (September 1948) and Rayo Rojo
(October 1949)
. There was a character or series, in particular, those magazines do you like?
Editorial Abril a la Argentina amount to importantes autores de comics. Pratt, Ongaro, Battle, Letter, Paul Campani. Algunas de las series de hechas llegaban Italy, como Hombres de la Jungla (Junglemen) Tita Dynamite (Gey Carioca), Misterix , Colt the Just (Tex), Saturnino Farandola .
As Misterix special interest to the public, it quickly became a magazine whose main character, during a period followed by drawing Campani especially for publication in Argentina. And they began scripts Ongaro who moved to Argentina (which did Campani, hindering the production and forced the publisher to train scribes of his style). Letteri and Pratt also came to the plains and was forming a cast of authors, which added some Argentines and Oesterheld, Destuet, July Portas (Julio Almada was his nickname) and Walter Ciocca, great comic artist gaucho, already a legendary strip published daily in the evening newspaper La Razon: Lindor Covas, the Spook. A few years later came Charles Vogt.
With this team established in 1952 were in production the characters interested me most in those years: Sergeant Kirk (of Oesterheld-Pratt) and Bull Rockett (of Oesterheld-Campani).
Campani not soon disappear from magazines, after a period copistas de no demasiado buenos. Y Misterix paso a manos de Eugenio Zoppi, y Bull Rockett the empezó a dibujo Solano López, que le a god inusitada expresividad a los personajes.
We can say that the great development of the Argentine Historietas during his childhood was due to the economic prosperity that the country was living in the '50s or is an oversimplification and you think there were other factors more decisive? Pratt, reminiscent of that "grazed the British army steaks in Uruguay and Argentina"
After the war, Argentina experienced a period of great prosperity, it is true. And this was added the Peronism, a political force that still is the most powerful country and, in general, has tried to make the distribution of wealth more equitable (forgetting the period of Carlos Menem, a leader in the 90s, tried to impose the most ruthless economic liberalism, following the recession and impoverishing recipes that can dictate where the International Monetary Fund). But comics were read, many from before. The Tony of editorial Colomba had a success for decades after 1930. titbits and The Sparrow, Editorial Manuel Lainez also pulled in those years, Strong Fist , Spinach , La Novela Semanal and several others.
What happened to coincide with the prosperity of the '45 was best magazines appeared, with much material Argentina as Patoruzito , the most successful magazine of the decade from the '45 to '55, in the formula there was plenty of adventure and the humorous story of a very good level. Prawn and Vito nerve are generally the most remembered and appreciated por la people de mi generación.
imagine that in addition to the magazines you read Abril also those of Frontera Oesterheld, who opened the business in 1957. I have some issues of magazines such as
Hora Cero and Frontera
and I noticed that most of the comic genre to which you belong to are not dedicated, or war and western
, to which is added also the specific genre of adventure gauchesca Argentina.
The reading of those cartoons, if you have had a role in its formation as a writer, and thereby serve as the most theoretical point di vista dal, a livello di linguaggio of fumetto?
In 1957 there were two phenomena that revolutionized the way of counting: Oesterheld launched its Editorial Frontiera, with magazines and Frontera Zero Hour, and comedian Landru (Juan Carlos Colombres) inaugurated a new form of humor, between the lunatic and a large vein for political joke. Perón had fallen after a pretty bloody military coup (the pilots bombed the Plaza de Mayo, the most central Buenos Aires, killing hundreds People who went to work in the most populous city offices), and this fall had loosened censorship, it was pretty hard during that first Peronism. 
Tia Vicenta, the Landru humor magazine went on to sell 300,000 copies a week. Oesterheld magazines and ended the week continued stories, which were used, and suggested a few pages autoconclusivos stories. He spent, by making a comparison not know if very lucky, the story of the novel. And that forced publishers to rethink existing periodicities and the length of the stories. The most favored was Editorial Colomba, quickly, less than a year later, D'Artagnan had thrown , comprising a significant amount of autoconclusivas stories. And that, in turn, changed their weekly e The Tony range of monthly magazines complete adventures. And Misterix took a little longer, but changed his editor - April sold it to Iago - and after a blazing start, the Mort Cinder by Oesterheld and Breccia, became a modest second line between editorial cartoons.
Il Suo esordio avvenuto è nel 1963 che per le Riviste gravitavano attorno all'orbita of Patoruzú personaggi, e creato da Dante Quinterno popolarissimo in Argentina. Per Lei realizzativa Quinterno umoristici or FECE racconti only già qualche esperienza with sceneggiatura?
Patoruzú bought me humorous short stories which were published weekly. I did some interviews to entertainment figures and came to write the plot of a story for Patoruzú Walkabout, a monthly magazine which published a long story. But I rebounded.
Sue Le prime esperienza come sceneggiatore ufficiali sono state will edizioni di fatto presso Garcia Ferré, che di Riviste type were they?
Prior to García Ferré writing stories for the characters in the editorial, I worked as a screenwriter on Misterix , where I wrote some short stories without character, and a saga that drew Caramuta, an artist who, already formed, he went to Italy and worked well in Bonelli Editore. The story was called Wapiti, beaver hunter and was a beginning which drew air from Ticonderoga of Oesterheld and Pratt. But nobody remembers ... the
García Ferré had pamphlets for children, a seminar named school issues little glasses, and a monthly comic Mask. Also produced cartoons for television - Hijitus - at a rate of one minute per day. In all these ways worked a bit, but, above all, I worked a lot in typing Mask adventures Mask detective and his assistant Joe Zanzibar, the cartoon family Panconara La Familia, a y varias familia muy rare Historias of Topo Gigio of García Ferré que tenia los derechos para la Argentina .
Only recently I discovered that Anteojito (which in Italian translates as 'eyeglass') was not only the name of a magazine but also of a character. Good or bad something Patoruzú , Manech and others known in Italy but Anteojito which character was it?
little glasses was a boy of great intelligence and enormous glasses, nephew of Mask, who almost always spoke in verse and adventures lived a little in the way of Donald Duck. García Ferré, an author of great children arrived, he had created, in the magazine Billiken , Pi-Pio, a chick vagabondo and adventurer who is remembered for its high quality and the number of times it was offered to the public child. That, I think, and no little glasses, was the great creation of García Ferré for the world of comics in Argentina. Little glasses was born television personality, together with his band of friends presented cleaning products, chocolates, school books, in an original attempt to advertisers spend less and appeared, with great wit, a spot along with other brands. The impact on television came the little glasses force magazine that was, for many years, selling in Argentina.
avvenuto
Come è l'incontro with Guillermo Saccomanno? I saw seven conosciuti un'amicizia lavoro è insieme or cream or ragazzi bambini eravate Quando?
When I moved with my wife yet, she studied Literature. And Saccomanno was his classmate. I knew him from when he came to my house to read to Emma (my wife), and in the intervals, we were talking about comics, to novels, politics. I have 26, 27 and it four or five less.
Nella sua literature compare a personaggi anche dal nome piuttosto singolare, Tony Avila, the poet detective series, insieme ad Scritti di racconti Alejandro Dolina: di storie che type were they? Solo dal titolo molto divertenti Sembrano.
Tony Avila, the poet detective Was a humorous short piece we wrote to Alexander , who was my co-worker in a TV channel for the news weekly Seven Days of Editora Abril. It is the beginning of the 70s and we had fun with that world of poets who rhymed evil murderers, including the protruding ears villanísimo Rascolnicof, a terrible evil and ridiculous.
My
che ci sia sown a vuoto nella produzione a fumetti work Sua il 1968 e il 1972, però da alcuni lavori Occupato sui fumetti, ovvero i tre essays along with Albert Broccoli Center for El Editor. One often reads that all three were dedicated to the comic but given the titles ( Escrito El Humor, Humor El chart, Las Historietas ) seems to me that only one third was devoted specifically to comics: it is in fact so ? Or maybe the three famous essays on comics written in those years (unfortunately the sources do not agree on dates) were others who have nothing to do with those written with Broccoli?
empecé Desde 1967 a trabajar como redactor de anuncios para un canal de televisión, escriba a Teatro de obra que nunca if Estreno, en Dolina and collaboration with Manuel Evequoz, two colleagues and good friends from those years. I also did several radio programs where he did interviews and started working as a creative pubblicitario. I also wrote those books that name.
I tre libri, THE HUMOR WRITING, political cartoons and comics were dedicatio ognuna a theme: le Riviste umoristiche, ma anche le Riviste di notizie ei quotidiani, che avevano umoristiche colonne. Alcuna, in Argentina, were note molto importanti che hanno ec'erano authorities sull'umorismo puntata e non hanno scritto libri "serious." A notissimo romanzo, hopscotch, di Julio Cortazar, begins with a quote from CESAR BRUTUS, a humorist and author who wrote with grammatical errors and spelling scary (his character, CESAR BRUTUS, wanted to be a fine man but he was practically illiterate). Cortazar, one of the greatest writers from Argentina, used this text as a tribute to his favorite author, CESAR BRUTUS. So, the first of three books was sull'HUMOR Escrita and all those who wrote humorous texts in Argentina.
The second was those who had drawn up, with cartoons, comic strips . There are many interesting and so ...
And the third was on LAS Historietas, cartoon, ma IL Fumetto diciamo REALISTIC.
saggi Sono tre with a chronology Molta documentazione e abbastanza esatta.
In 1972 I went to an advertising agency to work on the launch of a new magazine, Satyricon, where I was creative director. And it was that I contacted Satiricon Alberto Breccia, with Altuna, with Lito Fernandez. And as it turned out it was the only writing I knew how to be understood by the artists to write comics, but soon I was turning to my old dream of a lifetime ...
Noi lettori italiani abbiamo a vision, perhaps a bit 'limited Argentine magazines for us on the one hand there are those classic and reactionary Columba and other records of the newer ones, but there were many other magazines that are less known, but unfortunately that seems to have had paramount importance in the development of comics in Argentina, if only because before Skorpio and Tit-Bits have offered an alternative to Tony El , D'Artagnan, etc..
Satyricon I mean, you mentioned above,
Mengano , etc.. for you too (along with designers like Altuna, Lito Fernandez Oswal) has Collaborate. Magari è
impressione only one mine, ma che fossero veramente I seeded a Fucina getto di idee a continuum. Cosa può raccontarci di questa esperienza?
Satiricon was memorabile as a magazine. Innovative and bold, professional comedians did not write, but journalists who were thrown into the adventure of satirizing reality. Its directors, Oscar Andrés Cascioli Blotta son, were both artists and have very good taste in choosing partners. I think it was a great magazine epochal finally banned by the military dictatorship.
As Mengano , a magazine similar to the previous where we cooperate much of the original cast Satyricon, which was also banned by the military.
(1-DC)
¡From Line Latina! Editions secret papers, pp. 30-31: [Ferruccio Giromini] " At that time, Argentina was a country very rich ... [Hugo Pratt] Yes, because they had lived long on the shoulders of the war in Europe, especially exporting meat. The steaks were grazing in the British army in Uruguay and Argentina ... After the war, therefore, by emigration and immigration, arrived in Argentina for good designers, especially from Spain, who began working for various publishing houses. With those that were already there, such as Alberto Breccia, and with us that we were coming from Italy which has created an amalgam of forces of young designers. These new generations, who were beginning to be absorbed by the various publishers, inevitably were bearers of a new way of seeing and telling. And a little 'as what should have happened much later with the superheroes, with the discovery of self-examination, then we can find different ways of telling stories, more introspective. In this course it was not foreign to the experience of the war just ended. "
Speaking of episodes, "Lost" should be remembered that probably helped Barron Wood incognito for a few episodes in the 90s, but is not given to whether this association was partial or complete, nor whether any charged episodes have arrived in Italy (if that were the case, we prefer to think it was less successful episodes of the series) [Gustavo Amezaga / Manuel Morin had already replaced Wood occasionally since the early '80s] . 
