" I have always considered myself a businessman, a producer of designs: I make a drawing, then sell it. Yes, because for me is a job and continues to be, whereas the cravings, desires to do different things, things I keep busy to finish the job when . "(1.)
From 1958 to 1965, the Film Paul has produced more than forty-four thousand and two hundred drawings, a total more than 635 "carousel", and a thousand space telecommunications.
The characters created are different: the first among many is the "Little man with a mustache," to which he gives voice Raffaele Pisu, for the coffee Moka Bialetti, which made its television debut in January 6, 1958 went to aired until 1968. Some say it's a sort of caricature of Alfonso Bialetti Cavalier (the customer), but others simply say that that funny little man to whom the letters drawn in succession to the words spoken and perfectly synchronized with the audio, appeared in place of sentences coming out of the mouth, is the result of a graphic stylization of coffee.
"The little man with a mustache" and "Angelina", 1958
said that compared to other characters disappeared after "Carousel" this is one of those who still Today, more than fifty years after its creation, continues to live on the Italian coffee makers, consolidated as a brand over the years.
Beyond "the little man with a mustache" at the same time, and until 1965 was also aired "Angelina," the little angel sleeping on the cloud to Supertrim of Agip. Between 1960 and 1961 for several years was presented the adventures of other characters: "Toto and Tata" the motto is "Svanitella" Liu Superiride for Cera.
"Toto and nanny" and "Svanitella, 1960 / '61
Among the other characters Paul will produce" The grin and grimace, "Fido Bau for Manetti & Roberts, and" tired all the Little Man "for Permaflex.
"Fido Bau"
These characters accounted extraordinary support from professionals such as Max Massimino Garnier, an important writer, According Bignardi , lead animator, Benevelli Angelo and Gigi Piccinini machine operators, Enrico de Pietri responsible for set design, George Michaels responsible for the outline and coloring Franco Serafini the first animator, Vittorio Lusvardi and Mario Bondi makers editions.
The characters sprang directly from Paul Campani, which followed more than to draw the layout as all other operations supervisor sbrigate by the team of his collaborators. Campani in 1961 is only because, due to internal disagreements, all employees leaving the business Paul to professional films, including Max Massimino Garnier.
Above from left Paul Campani and Max Massimino Garnier
Despite this together with producer and musician Romano Bertola, Paul Campani then broadcasts new characters, they also met with a huge success with the "Merendero" with "Miguel and his sombrero" to Talmone, "Tuft and Cioffi" for washing machines Castor aired from 1965 to 1966, the "wags Briganti for Parmigiano Reggiano
, and the Sao Cafè 'bird' Fefè "," Ricardao "Superfaust for the insecticide, the adventures of" Angelino and Angelina "for detergent Supertrim," Gigino pestiferous "Tanara pear ice cream.
" Miguel and his sombrero "
"Ricardao"
"Miguel ... am I" is the voice of the Roman Bertola included in the advertising "Merendero" which was recorded while unintentionally, after several previous attempts to sing the letters, he could not to get the right song.
well as building entire campaigns animated carousels ecquivalenti few thousand to 100 km of film, and over two hundred television themes in the varied activities Campani tails followed some advertisements were made in the presence of the likes of Ernestro Calindri, Peppino Capri, Giorgio Gaber, and many others.
The death of the artist Paul Campani, who died prematurely, would inevitably saw the end of Paul's first film of 1977 (the year in which "Carousel" closed forever activities ). But the little man with mustache, one of his earlier characters, he was involved in some publicity in 1976, Gavioli taken over by the brothers, who were attentive to detail, meticulous not to betray the unmistakable style of Paul. The cartoon, which in Italy had had its "moment of glory" remained anchored to the possibilities given by the ad space.
Campaigns for "Carousel" requiring much work, work for the processing and production remained almost entirely handmade.
Paul Campani and his assistant Max Massimino Garnier in the first phase and looking for some special traits that could characterize the characters. Found the idea around it were made storyboards, a few tables mainly comic that was a first preparatory step for the realization of the final script.
Once the work Paul, with the help of the head animator, created the basic positions of the characters. At that point the supply of stationery, ink and campitori was essential: the first had to draw the intermediate positions of the character, along with the position basis, were to make credible and fluid movements of the character, the next step was left to the inking that had to trace the transfer and ink drawings from the paper on special transparent sheets of celluloid, called "cels" were used 12 to 24 sheets per second of animation, and the campitori once had in their hands the drawings had to color them in china on the Highway.
acetate sheets, pattern and color, were then placed on the background of a scene and recovered, one frame at a time, from the top with the camera fixed. The assembly and integration of sound, of course, remained the last phase of the cartoon. This was in brief the work of all the animators, so hard for a few feet of film, but had a great response.
1. "The best of 1957-1977 Carousel" by Guia Cross, "will do something great," p.. 106, Giulio Einaudi editore spa, Torino 2008.
2. www.provincia.modena.it
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