Interview with Guia Cross to the "Bay of Silence", Sestri Levante, January 15, 2009.
The morning after having breakfast, I took the 10:00 direct from La Spezia.
arrived after forty minutes Sestri. On the way I thought about how it would control the recorder and nervously to see if everything was OK. "Here I am" I thought I had come to Sestri.
get off the train and leaving the station I was excited.
"And now?" I thought.
I had never seen and did not know how to recognize it, then a silhouette of the shoulders in front of me turns around.
immediately knew it was her, her first words were:
"Simon?"
"Yes, she is pleased Guia Cross?"
We quickly found.
"We so I'll take you in a bar in a nice bar so we can chat! "
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
"We are in their fifties today, we grew up with" Carousel ", the adults loved it and we children, except Carousel, we had almost nothing like cartoons on TV. "
"Here we are!"
"... How beautiful!"
"You see, you'll see in that beautiful place I've brought you! Voila! Catch all that then there Let us take a coffee! "
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
Talk of the major film studios of cartoon characters. What were their differences?
"In Italy the first to confront a animated feature were the brothers Pagot, and then brothers Gavioli (Gamma Film), they are the ones who started the Italian adventure of the cartoon.
In my opinion the work of the Gavioli Pagot are more interesting because it was very classic designs with a bit more 'at Disney, always nice, always perfect, a great professional, but not very funny, very inventive. The range instead gave freedom to the employees and there were a number of techniques, different styles. Unfortunately I must always do these things anthologies, I always put characters that the audience remembers, not enough: every time there is always someone complaining because I forgot some characters dear to him. But if you could see the whole range of film production for Carousel you will find that there were other characters, some just a stunning modern, maybe not animated, frame by frame, but with a varied offer. Then the range gave space to young people who went to work there. The Pagot was more traditional choices, all designs had to be examined by the super brothers Pagotto, were willing to do a thing at Disney, with a unity of style very clear. In comparing a large Pagot was the most Disney-style, while the range was closer to Warner Bros, even UPA Cartoons. Although Pagot have created characters who have crossed the border the same "Carousel" as Calimero and Drake. Calimero was chosen, in the collective memory as a symbol of Carousel. While
Gavioli were a little 'more modern, a little' more than one investigator, and also more open to new talks. For example, there was one who did some great cartoons for the range to advertise "Fabbri Editori" and had made carousels with stained glass windows of Gothic churches of Europe, accompanied by music of Bach, a very sophisticated, but without 'Another unconventional caroselleschi. In short, things were too risky, not always just for kids. Then there was the Misseri Kappa was the one that was unleashed with the materials: paper, sand, what happened to his hands, tried to animate it. In
flatness today to return to the old cartoons, you discover a continuous and not just on this topic. Maybe because now there is almost nothing. Plus there's always the nostalgia effect.
But why I feel this nostalgia even though I have not lived?
Maybe it 's more of a nostalgia for Italy's postwar economic boom, a resurgent nation. So the effect was electrifying, now there, an excellent spread. Italy was
a people out of a war, a period of starvation, bombs, employment that suddenly found itself grinding economic growth, optimism and euphoria spread. I believe that those who have gone to war once over, they have had four or five years of pure madness vitalistic. Then, like all developing nations has slipped in consumerism, in totality and so on.
I wanted to ask some questions, there were so many I will be speaking out:
in the preface of your book you say: "Carousel allows you to kind of horrifying atmosphere and then get ready for the void of the eighties . In a sense, this statement can be compared to that of Massimo Scaglione, stating that "the end of the carousel, there was a lack of creativity", apart from the publicity that has been standardized, there was just a drop, a creative deficit?
"I think so, I remember even as a spectator.
In reality, "Carousel" was born by accident because it was necessary to advertise on television as in the other country which has however, but there were no commercials, that were the advertising posters, but there was no figure of television advertising. Then there were all thrown to the fish a little, they were movie people, even the TV there was that little. So it was to be invented: the TV-like advertising. Make the absurdity of the fact that there was no talk of the product up to thirty seconds of the tail, was something for Americans, who were already crammed with television and TV advertising for years, was absurd. But this rule has allowed us to unleash the imagination of all. For example in 1957 for the brandy "Fabbri" you spoke of modern painting, you saw Guttuso Capogrossi or filmed while painting on glass, with the camera on the other side of the glass. You could see a work born out of nothing, but what concerned the quality of a little brandy. Then as the whole of Italy felt like the Americans do, in America there were already all these forms of organization that were iperprofessionali, there were all these figures as the brand manager, the manager story, the designer brand etc.
While we were advertising in the three sat at the table laughed, and threw down the idea. Too bad that in the book I could not contain the laughter that was Peserico when he told his twenty-year career as a manufacturer of carousels. Alas, unfortunately I only have the interview audio, not filmed. There was all this randomness, all this fun, it was a done deal to a po'così "carelessly." But "carelessly" we Italians have always worked much better when we do the professionals. Then came the social & Mc Cann Ericksson and other super agencies. And the same business leaders were more chic consult a professional agency. Everything is told very effectively by Vito Molinari: "Moving forward in the mid-seventies, there was just a complete change, total, that began to arrive in Italy and become the big agencies that were small, but above all Italian American agencies or agencies that were derived from large U.S. agencies controlled by large American groups. These agencies had at their disposal many a lot of money and then opened of the wonderful locations, which were a bit 'a smokescreen for big clients, who were faced with great rooms, a splendid rooms, 25 secretaries, so many people working in agencies with American names strange. And I believe 80% of customers did not understand anything, not even knew, nor what they were doing, nor what he meant as: starting with Account. "
and there he is finished the level, what I call the atmosphere . Cesare Tauarelli tells it well: "Once he got the overpaid American who has shot a carousel, on a day, while we were doing seven or eight, and to advertise of a homogenized, it took the whole team around the park a whole day just to find a leaf, that leaf, only that. "
There was then an 'other innovation, the slow motion, the suggestion from atmosphere
while the real "Carousel" is the one skit, which comes directly from the variety.
The skit on the one hand, and the other boxes, because the testimonials they cost even more.
Another feature was the variety of carousel area: There were so many production houses, scattered throughout Italy, this is interesting, because it is no longer the case. Now the advertising you make or Rome or Milan. Then there were actually Florentine reality Modena, Bergamo reality, things were also very familiar.
Slowly we come to these slow-motion, these soft-focus, all of which have made the offers all the same, all respectable, all too politically correct, but still there was this speech that was. And then gradually shrank over time, have increased inventory and found it more convenient, though by my crazy, repeat the same spot fifteen times a day for two or three years. While "Carousel" was to be always different, so creativity was really wild, because Sacis to rule was that each episode of "Carousel" was to be different.
were a set of rules, even a little 'crazy, a little' out of fashion ", to ensure that" Carousel "has had this success, and has had over the years, this echo, because now I am past fifty years, yet Italians still remember him and love him.
Now when you see the same advertisement for eight months, if not for two years, one thing becomes just invasive and annoying. Then it was always different: you know what was the final gag, what was the slogan or jingle, but the rest changed, this was very funny. "
Now advertising creates noise.
"Advertising controls the television, in the sense that if a program is not as beautiful port in the early evening that tot audience, is delete the program and advertising, then it was the exact opposite Advertising was placed in a particular spot, in every "Carousel" there were just four episodes then are now five, could not be two of the same product advertising, and companies were queuing. It was a way around the world than today.
But now television is alive thanks to advertising. We make plans to trial pack of advertising where There are both spots in the middle, but also teleshopping, telepromotions. Now it is a terrible thing. By now everyone has a moment of horror when he started advertising, because they invented this torture of increasing the volume.
Carousel was what to expect from young and old because it was fun. Meanwhile, say the television was then a television very educational, very decent, a little 'boring.
The fun was on Saturday evening with programs like "Royal Flush" and "Canzonissima", but otherwise things were serious. While advertising was closed in ten minutes of madness, everyone has been waiting, was a program that looked at all.
When I go to make the book almost always there are people in the forties, fifties and sixties, which are also those who lived "Carousel." Then sometimes, like mushrooms, sprout boys are almost always people who study communication, advertising. Instead, in Pavia, at the end of the conference, came a very young boy, must have been seventeen years old and I said "Madam, I wanted to say thank you!" Among the various things that I did see, I did see an episode of "Lancelot" by Biassoni, very nice and very modern as stroke. He told me: "It 's all my life I hear my parents say when they sit at the table: "How come we are not eight?" "Why missing Lancelot," and he did not understand why this thing saying, "Now I know why. Thank you. "So it is a phenomenon that has been planted in the brains of people. And this poor fellow did not understand having seventeen years, and he was repeating the things of "Carousel," which he had never seen.
Paul's bell in a 1977 interview said "... then inevitably are passed to the advertising" for creative weighed as being "limited" in making the characters and stories for the publication by we know that the animated feature films have not been widely happened and what has influenced the work of creative advertising grant?
"But, what I noticed, I think it is a matter of age, still alive Gavioli is a man of exemplary calm, happy but also come to eighty years, that age, I suppose, you bring a certain wisdom.
interview you've seen Paul Campani he was almost disappointed, he wanted to make feature films, even though there was an economic outlet, as they had shown the poor Pagot Gavioli and when we had tried. The only, I think, has had some financial rewards from his animated feature film, it was Bruno Bozzetto. And then you consider that those years there, sixties and seventies were the years of protest, dell'anticonsumismo. Advertising
then laugh about the conditioning aspect, but seeing it now because there is no limit to the worst ever. But then, advertising was seen as a sell to a consumer society, which was viewed very badly. Then that these artists have done so brilliantly, creatively, have created the characters of success and impact almost sentimental, it was something that could not percepire.E then is a bit 'in the nature of creative, well I'll put myself, when I can do it, you're never happy with what you did, you always seem to have no never done enough or have had limits on your speech, we often have them. Artists often have a buyer for a living. There
to calculate this as well: it was a shame po'anche do advertising in the years of dispute. Next came the pride to do the advertising to the eighties and nineties, where they began to do more bad publicity.
But I think Paul Campani was a sad man of character, as often happens to comedians and intelligent people. He and Max Massimino
Garnier made cartoon self, that I have ever seen, I read the scripts in this beautiful catalog made for the exhibition. They were cartoons of the complaint, very smart and timely, but if you had to self-produce.
were years of strong social pressure and awareness, so maybe they felt guilty, instead of being an artist I'm selling advertising. Giulio
Crawley wrote the book very interesting in his memoirs "The game of the new world." Crawley was a very experimental animation is also very simple, little work compared to other production houses, but had raised some good wit: for example, has made a number of abbreviations for Rai very beautiful. He said that was a real sessantottino ", he felt the problem of having sold to capitalism, even though much worse was the fact there is now dopo.E a total indifference with respect to the analysis of what makes one for himself and to society. So were other times of conscience, maybe even too much. There is a piece of the book tells of tracks where he lost by an analysis of the work that they were sincerissima of advertisers and those who had imposed the needs to people. He immediately lost the big contracts.
And then there was a strong condemnation by the Sacis that has influenced, for better or for worse. If you think as has happened in American cinema at the time of the "Hays Code": often the constraints of censorship and rules, to work as a creative challenge and give even the best, in my opinion, to circumvent rules, the complaints. Now that television is all the freedom possible, in advertising, we have a truly ridiculous statement. Then you always have to calculate the specificity of the period. I have also tried to represent it even when I chose four of the cartoons on dvd carousel, see also represents the social time, ie the fifties, and respectability, the economic boom, then begins to get the '68 with the iconoclastic, everything is properly transposed the inventiveness of the carousel. My dream would be, in part to continue this work of recovery of such poor carousels scattered throughout Italy and abandoned to their fate of fragile film, make a sociological history, because there is reflected the social history of Italy during those years "
I wanted to know if you know, the Americans have imposed on us in the forms and rhythms of advertising, as it had distributed their advertising, it was more free from censorship, as was organized?
"The American advertising? They are not as iron, but I remember that even an advertisement for Tex Avery, a genius in the grand final TV chopper, if I remember correctly, was criticized for an advertisement for "Kalo Dog" dog food. I believe that they too had their rules, if you think it was the years Fifties and Sixties, McCarthyism and other fine amenities. "
How modern art became part of the carousel?
"Well in many ways. First
Emmer was that besides being a good film director, and has always been an expert and art lover, had this series of "Blacksmith" which summarized the greatest contemporary painters who painted on the glass. Then there was the case of Pino Pascali, who was a great, unfortunately he died very soon. There is a thesis about him made by his daughter Sandra Lodolo, who was an animator, another delightful person, and did carousels with Pino Pascali. Pino Pascali was one of the founders of the so-called "arte povera", was unfortunately killed in a motorcycle that was really young. He did some beautiful work, beautiful sculptures, as well as experimental little film was a very much alive and then for a living and put money in his pocket was also "Carousel", and made it really beautiful!
One, you've surely seen, because it is the one with the bullfighter of the 'Algida "," Salvador El Matador "I put the DVD of the book.
Pino Pascali has also done a series called "My grandfather said" for the Lazzaroni, where his grandfather built fairytale characters for her nephew with all the kitchen utensils: a grater, a ball, two clips and made all these characters that correspond to the very style of his art. Then
Pascali has some beautiful scenery, for example, "The library of Studio One." O
Fusako Yusaki and clay harvester for Fernet Branca .... I consider art as too much "Papalla, Armando Testa, who also introduced the body art in the carousel with the series of" train-human "for Pavesi. O Bruno Munari Olivetti.Ormai for the boundary between art and communication is very unstable.
It was also noticed in America so they had done a retrospective of the carousel "MOMA", already Then in 1971, and even then he had been granted the license of art.
There came a bit 'all. I also remember, for example, various techniques, including Misseri, even though he considers himself as a craftsman. All this mixture of animation and live action, much experimentation, also tracks, in many ways. In short, the pioneers of video art "
Apart from the classical animation, there were other ways of advertising for television, there were several techniques that were used?
say that the animation techniques contained in itself one thousand, the other was shooting from the truth.
Animation techniques there have been many, were very often dictated by lack of time and problems of delivery and budget. As usual the difficulties you are leading, for example, many advertisements of tracks were made quickly, but with the play of light, things were really new, but then so new that we have come to the cinema years later.
However, a huge territory of experimentation: everything was done as to narrowness of time, lack of budget, we earned, but were not now have the advertising budget. So going for the independent film, little money and a lot of creativity.
I think one of the wildest was Misseri which is still active and continued his activities with their children and, I think a lot of fun. The creative
were also very cooperative, even if you tell a more optimistic, but I think that all these leaders believe they were really proud of this animation to grow Italian, conscious of doing a great job, because then they all started with wanting to make films , all in love with Disney, and when they all went to Cannes we were all together, we commented to each other, they gave advice. So it was just a good time!
advertising has become repetitive when you are lost, as well as fees for production companies, including all the research that was fatta.I brothers Gavioli originally made for cinema advertising, full color, and beautiful things. The Gavioli in the book "Box surprise" you talk about their adventure with the knowledge to do something new, something very Italian, new to them, and I think with all these beautiful heads have made a fine contribution. It amused, even when they get to mess chemically developing the film, then often find things in a totally random, graphically speaking. They also invented equipment for the film industry.
carousel is then created to provide space for advertising, and animation were all a bit 'skeptical even for someone like the Pagot, the animation was made that year. How was it possible?
"They were skeptical because it was an immense task, if you think that then it is like now and in the animation was not an economic, it was a bit 'a battle against the windmills. In an interview with Paul Campani that I put in the book talks about his first job, "the donkey and the Skin of a Lion", which went very badly, but if you look very well done. A little 'was not in our culture, then we are "heterophile" more than ever that everything is okay from the outside, and instead of us it is difficult break. However you do realize that animation was something that did not have a match, was an immense task, and these industries were, and then had to sell. The cinema is an industry and television as well, it has become even more.
Compared to what I said before, between Sixty-eight years and the Seventies, creative people had a certain shame, I think now it could all turn back and should thank God that the advertisement was the only thing that allowed him financially to develop, and even creatively. Today there is hardly any animation Italian, we really little. "
Apart from the company head. Lately posted advertisements that are similar to old episodes of "Carmencita and Caballero" of "Carousel."
Once all these surveys were not for anything, let alone market studies. Marco Testa himself told me that in the eighties, and then when it was already finished, "Carousel," they did a search on the characters for children. These children, when asked, remembered "Carmencita and Caballero," people who had crossed the border of their disappearance, they had reached a kind of immortality, post carousel. We do not know how, but remained in the imagination of a sea of \u200b\u200bchildren who had never seen. A sort of mystery. Indeed Carmencita have withdrawn out, inter alia, have withdrawn out of Carmencita and Caballero, a feminist achievement.
As with other legacy carousel just think the campaign "Infostrada" With Fiorello and Buongiorno. There was a sketch where Mike said: "Higher and higher!", That he quoted himself thirty years earlier, in a carousel of grappa.
is the 'mystery carousel is so left in the Italian consciousness that now returning to its advertising formula.
In your book you also mentioned the Littizzetto?
Yes there was, now it's already changed, but there was a time when a campaign Littizzetto was another episode that was pure mention of "Carousel." And she is still a carousel figure more than by advertising today. A normal body, by a person of the family, but familiare.Ed spirit is something reassuring and enjoyable. What I am now slowly returning to "Carousel" in advertising today is represented by a little 'in joke, a bit' more than irony. Because we were after the end of "Carousel" fifteen years of advertising "mood", or where they were all vaguely threatening, this "look black", it faces angry, threatening. In reality, the bonhomie is a formula that works.
This glossy world of Bononi Bononi and gym, is not the face of the Italians. There was a progressive removal from the model very familiar, home. Now he is returning to this type of advertising, obviously you do the math and you are returned to normal with stuttering Laurenti, the Littizzetto, I find them much better! Although I do not go crazy because every episode I will recur at least fifteen times a day, but I give less annoyance advertising the nineties, with the splendor of the precious unnecessary absurd, to say the least irritating of the models. Zero ideas and images carefully, master of light, super film, and then very often you do not even remember the product for which it was made whole 'I'm blockbuster.
It seems to me that a minimum this grandeur is disappearing, and since advertisers have no idea back in "Carousel."
Have you published your book in a few figures of the actors who appeared in TV commercials with the cachet very high, are She was astonished at that time were a lot of money.
"I I picked up the pieces, but much more information you may find the library in excellent, that of Sipra in Turin, which is a whole library devoted to advertising. There you will find the data much more precise, I just put the oer at least give an idea, these actors were the stars. Rita Pavone was the diva of our time and advertising was already a good lap money. In reality, not by chance that we are all thrown to make "Carousel", the movie people who had already a profession where you made good money, and Italian cinema was already in crisis because it had ended the golden age of neorealism. For cinema, then pooped
had invented the so-called "musicals" , Which were of tremendous film, inter alia, with the type cantnti Rita Pavone, Gianni Morandi. I myself went to see the movies when I was a child my idols of the song. That "Carousel" was a good business, and in fact we have thrown all, all the actors. The only one who has not done is Mastroianni, was a simple man and must have been a nice person.
short of money it turned quite a few. "
With rising cachet of the actors has given way to a cartoon character that had a huge success.
"Yes, growing cachet but also because when he started "Carousel" neither the buyer or the head of industry, nor the officials Rai, had still in mind, the persuasive power of television. But after two months that transmitted the carousels they realized that any product on television, sales increased tenfold, sometimes a hundredfold. So immediately there was a terrible war and a race to get to have a space in the carousel, then the testimonials began to say: "I'll make money, then pay me more." Then they began to say: we must break away from the testimonial and thus was born the beloved cartoon. Initially
The cartoons were created specifically for children, was the public to allow children to see "Carousel." Advertisers have realized that if you grab the attention of the child, the whole day after breaking the boxes to the mother until they buy the product. So at some point not fire too: come to the mother through the bambino.Quindi songs, Stuffed animals, character on, and from there began the attack on the children.The 'attack on the family, through the Trojan Horse of children. "
Then the advertisement was created to get the whole family and the cartoon for children?
"Well, no beginning. If you look at the first carousels were really dedicated to that great: there was Mike Bongiorno had a woman judge, who was Canestrini taught to drive, because then began selling the first cars to the Italians. So the first carousels were dedicated to the great, then slowly realized that "Carousel" was a show that looked at the whole family or while the mother was the cookware, the father watch the news, then everyone in front of the TV to see these skits and happy that they could see the kids, and then later to bed.
Pagot Tony explains it well when he says "We realized that to get to the portfolios of the mothers had to talk to the children, but also Garnier says this technique. Until 1966, 1968, all the carousels were aimed mainly at children. He was also a home help, for which the mother while "spignatta" puts the child in front of the television, so finished preparing dinner, the baby is good does not break his head with his brother and so on., It was a home service. "
songs and jingles were used to provide support to these ads?
"Sure, jingles, slogans, and songs were used a lot. There are, however, came after it was all experimental, when advertisers began using the American technique. For us it was all very homely. Even
Peserico, who was a producer, were told that the carousel then ran home to see how the parents react, then later began to give visibility to the phrase, slogan, which eventually came in the speeches of the Italians.
Then all went on a rampage because when someone found a trick was used by all. "
I did smile given items to the characters, some of them were expressed at rates typically regional, with other phonemes such as the line of Cavandoli. Did you know?
"No, unfortunately no, I'm sorry not to have known a lot, because then I would have liked to know them all by their work really shines through an intelligence, a considerable sympathy.
I remember, about the voices, the unreachable Bonomi line and that gave voice to what remains one of the characters that I like very much. Since a child I stayed loyal to the characters more negative, wrathful, not too sugary ones. I liked those Campani "Toto and Tata" arguing that "or" pride and nobility "for the same reason.
Bonomi I think it was wonderful and I think that without his voice would have been much less fun. Then
amused It is these characters, for example in the "soup Lombardi" where there was the Venetian, the Sicilian, was a clever way to catch all of Italy because there was a policeman who spoke in Sicilian, the caveman who spoke Venetian, and was also a way to unite all of Italy.
They had so many clever ideas, but always funny, always entertaining. Another clever publicity to me was that he did Luciano Emmer "The insatiable," a family of carognoni, just as unpleasant. It 's really a good time. It was all different. Italy was a different that had no cars and was riding his bicycle, he did not use deodorant because that has taught him "Carousel".
Once one who interviewed me asked me: "you could remake Carousel?"
do not know. But surely you could make a decent advertising more: a bit 'smarter, a little' more diverse, less and less adherent to the conditioning of the models that are not ours. A
other hand was first launched with "Carousel" is the kind that had already started before dementia in variety, with Rascel who was a true genius of non-sense, what you could study the evolution of the genus is also insane, which is now scattered everywhere, which had its genesis in television "Carousel." See For example, the gag of The Brutos for the wax Gray
There have been players that have had success with Carousel and then, however, are no longer able to get rid of the character?
"It often happens to the actors, such as the poor Polish Caesar a great stage actor, has gone down in history as one that did not use grease or another is Linetti Paolo Ferrari, who said that when he went to felt the people around hissing "Dash, Dash."
But they also gained a lot, although in an interview with Polish Caesar says, "I'd like to be remembered as a good actor in prose." Even Franco Cerri is a very good Italian jazz musician, but if all remember him as the man who was left to soak with detergent: "Nooo, there is not dirty!" Or even Arigliano for "Antonetto," which now has released a disc Arigliano Again, he enrgico ultra octogenarian. "
As was distributed in Italy the advertising production?
"Then there were the few agencies that were interested in the distribution of posters and advertising in newspapers, did not know anything about television, and it also tells the well head, which was already as affermatissimo advertising. Since he did not know anything or film or television, it had very ingenious, and has endeavored very well.
He was brilliant and had good staff, then he could also be surrounded by capable people. So the agencies were a bit 'left to themselves, many of these studios have been born a bit' so it was all very semplice.Dopo came the agencies that took the left only because otherwise professionalize the management of the tail thirty seconds, and they also wanted the rest of two minutes, they wanted to get my hands on the whole cake. "
More or less in that year?
"Towards the beginning of the seventies. For the first ten years have made things a little 'to the "amateurs." But then they began to see that American agencies were billions, and from there began the war between production companies and agencies: they served in the war or were merged, there were various dynamics.
So on the one hand there were the companies that chose the large agencies, while others continued to do the work at home, because he had always gone so well. "
An example may have been Osvaldo Cavandoli?
"Osvaldo Cavandoli had the great invention of the "line", so much so that it was a character that went beyond the Lagostina, but it is also true that there was behind Mr. Lagostina who was a great connoisseur of art, and has identified the 'artistic essence of Cavandoli.
industries initially were familiar, where everything was at the head of the "cumm" and industries were gradually becoming absorbed large multinazionali.E 'the history of our industry that has been lost, almost none of them is Italian have been absorbed and others have been closed. While
then there was Mr. Bialetti who liked to be portrayed as a man with a mustache, or Mr. Barilla, that since he was a friend of Dario For, when Dario For was chased from Rai, took it and put it on video with "Carousel." They were people, were the Italians, they were real people, was not a board of directors, and then the relationship was very direct. Peserico said when they went to talk to the developer and Marquis specializes in making people laugh the client, without going to try the super consultant, super pro, a series of unnecessary work for me, but now making a lot. We were a little Italy, we were a peasant of Italy that were urbanized. Marco
Pagot in an interview said: "Americans came to us to learn how to advertise "
" We are able to imitate the Americans, we are all leveled in imitation of the Americans, while they have a sense of charm to Europe, studying advertising as we did in Europe. The "Carousel" was a foolish thing for them, two minutes for something that never mentions the product, does not see why the product was something inconceivable. But then he came to study this form of "Carousel," but it was impossible for them because they had the space of fifteen seconds dear, but we had Rai who had not yet realized, that gave the space of two minutes and means of "Carousel." But they were very curious about this strange phenomenon, he told me that in Italy Emmer.Penso the advertising industry was just born, and I think that Americans are surprised because they did everything with so little budget, they had budgets of more than serious, they wanted to know why with so little money was made an ad that worked so well, then they realized that we had only one. I think it went well.
I know is that Gavioli Pagot had dealings with the American cartoonist, and have had several compliments, and even if the companies were smaller than those of Americans, there was a lot of creativity, a lot of experimentation, but I think the Americans time were already trapped in precise patterns. We Italians always give in improvisation, then we want to do the science, but they are always inpuntuali messy, but we love to imitate the Americans. "
The advertising industry what they did after the end of" Carousel "?
"Some industries are recycled, but they were always spaces of" Tic Tac "," Break ", shorter and shorter, and then slowly closed. Then they had this great invention of repeating the same ad for months, so the amount of work has gradually narrowing, although I think these large advertising companies, earnings have made it. But when they had to close for them must have been a pain, especially really small, especially as Modena, set up an industry and then send home the people after years of work is not nice. So how did the fashion of repetitiveness were just off. "
Those who remained continued to produce in some way also to other areas?
"Yes, we are also very Gavioli arranged, making titles for the film, special effects, pieces of animation in film and for a while 'they pulled ahead. The only
Perhaps that is separated from this whole production, in part, is sketch?
Bozzetto yes, you could also do feature films that have had good success, such as "West and Soda". The feature that has created are beautiful, witty, then I do not know how he did it because the studio was smaller. I think he had a huge power of stubbornness. The Pagot were saved because a number of their characters have become children's characters, like Calimero, and then books, merchandising, has also released a series of Japanese Calimero. The Pagot still exists, it is saved. And I think that still produce children's books and cartoons. The Range film has stood up to a certain point then closed. The study does not exist anymore, there Gino Gavioli and his magic pencil, makes books, comics.
Misseri continued working alone abroad. Perhaps there was neither courage nor desire to support this reality. "
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