| T O P I C R E V I E W |
| ziro |
Posted - 14/08/2019 : 17:46:17
Jel zna neko možda više ko je bio taj lik, jel pisao šta osim onih par epizoda Zagora, pošto ja ne znam da jeste išta sem toga?
Kako je dospeo na Zagora itd. |
| 11 L A T E S T R E P L I E S (Newest First) |
| grofica Varga |
Posted - 15/08/2019 : 21:20:21
Poznajem ga samo kroz Zagora i na temelju te 4 epizode ne mogu stvoriti mišljenje o njemu kao autoru.
Na Zagoru se pojavio u periodu kada je Nolitta počeo rasti iz epizode u epizodu i Melloncellijeve su priče spuštale uzlaznu liniju tog perioda. Uspio je nekako sklepati ulogu pripomoći, to mu ne bi oduzela. Kada bi u šturo gledala radnju Skrivenog grada, Magic Bata ili Clark Cityja, sve je to ok i stoji u službi pustolovine. Zagor inkognito u leglu zločinaca, hipnotizer i šarlatan manipulira Indijancima, Maye izgradili Chitzen Itzu u Darkwoodu... Nije čudo da mu je Nolitta dao zeleno svijetlo. Problem je kod generičnog scenarija koji ne zaokuplja u potpunosti, usiljenim rješenjima, predvidljivosti i dijalozima koji su dosadni. Pet puta se oznojiš dok pročitaš jednu rečenicu. |
| ziro |
Posted - 15/08/2019 : 11:45:14
Zanimljiv tekst, hvala što si ga podelio !  |
| Vlladimir |
Posted - 14/08/2019 : 23:33:52
Intervju sa Cezarom, decembar 2017
link:https://www.giornalepop.it/intervista-a-melloncelli-su-cico-e-zagor/
Cesare Melloncelli, born in 1941 in Milan, debuted in the comic strip in 1962 for Editrice La Scuola. Later he collaborated with the Cervinia editions writing the adventures of western characters such as Kid del West, Tommy Colt, Winchester Man, as well as the black hero Mister-X, one of the many characters inspired by Diabolik who came out in the mid-sixties.
Mister-X, designed by his old friend Giancarlo Tenenti, had some success having become the face of a series of television commercials and a film for the cinema.He also wrote several stories for Tarzan, Rin Tin Tin, Carabina Slim and Sangoor.
He came into contact with Bonelli in the late sixties to write Red Buck, a series created for the graphic part by Sergio Tarquinio.
For the same publishing house he also writes some episodes of Zagor: "The enemy in the shadows" (Tutto Zagor n. 26), "Clark City" (n. 28-29), "The hidden city" (n. 50-51 ) and “Magic-Bat” (n. 65-66). In particular, it highlights the treatment of Cico, the co-star of the series.
Is Cesare Melloncelli, fifty years after his stories, surprised to see Zagor still on the newsstands?
I am surprised to see still comics, newspapers and books: in my opinion, unfortunately, many write and few read.
What memory do you have of Sergio Bonelli?
He was an enthusiastic, nice, creative, intelligent person. I think he would have been successful in any business.
How did your adventures of Zagor come about?
I proposed them to Bonelli in his office or in the private bar of his elegant residence. A few quick adjustments and go!
Did Bonelli add or take anything away from his stories? We know that he often did it with Alfredo Castelli, or so they say ...
no, we talked about the story together at the beginning and then it never even changed a dialogue.
Did you start writing Zagor at your request or was it offered to you?
After some stories of Red Buck, Sergio Bonelli entrusted Zagor to me during his absence in South America: I presume he was studying the environments for Mister No, which will come out a few years later.
Have you ever regretted leaving Zagor after a few stories?
I left Zagor for less demanding collaborations in Italy and France. However, I always have a story in the PC that I don't decide to finish ... I write it just for my pleasure.
You was quite adept at dealing with the character of Cico, Zagor's shoulder. He always managed to make it funny or amusing, you also wrote some sequences where Cico told stories about his past ...
I enjoy Cico, the comic's counterpart to the hero, and I still imagine him still hungry and squawking a bit like Uncle Scrooge.
Several authors who came after you failed to manage Cico well ...
To me the "Mexican bungler" was particularly nice, but it is the Hero who attracts most of the attention.
Of the Bonelli designers of the time which was his favorite?
In passing, I only knew the phenomenal Tarquinio.
Why did you give up your career as a cartoonist?
Mine was just a pleasant (and tiring) hobby, I worked on it at night and on the weekend, it wasn't the main activity I was totally dedicated to.
Should youe return to the comics, what story would you write?
Magic and mystery are among the most interesting ingredients to focus on, but now everyone knows everything and it's almost impossible not to fall into ridicule ...
After writing the comic biography of Ernesto "Che" Guevara, Cesare Melloncelli abandons the profession of cartoonist.
Još neke zanimljivosti o čoveku:
In 1962, at the end of his studies in accounting, he was hired by the Gaetano Pini Orthopedic Institute, where he met his colleague Giancarlo Tenenti, who worked at the hospital as a draftsman for medical-scientific publications. Tenenti proposes to his friend to write him a brief history with which to propose himself to sector publishers. Melloncelli has always been passionate about writing but has never measured himself with a comic, a medium that he does not even know. It is perhaps the desire to discover this "unknown" world that makes him accept that unusual proposal.
Some time later, the two come into contact with the publishing house La Scuola di Brescia, which at that time publishes the fortnightly educational program for young people EXPLORE. Their story, entitled "Jimmy Clark", is accepted and published. Thus began a career in the world of popular publishing for both.
In an interview with Paolo Telloli and Angela De Luca for the magazine Ink, Melloncelli himself recalls his first experiences in the world of comics:
"It was exhausting work. Giancarlo drew the cartoons and I took care not only of the history but also of the lettering. Working eight hours a day in the office and then in the evening sitting still at the desk making up stories was a daunting challenge. During the day I struggled to wake up, I saw the characters and scenes I wrote the night before in the streets: the balloons, the cowboys ... ".
1963 is marked by the encounter with Gino Balzarini, owner of Cervinia. First commitment for this publisher is TOMMY COLT, which is followed by KID DEL WEST and WINCHESTER MAN. These are three western series in strip format, all designed by Tenenti and met with some success. The next step for the two authors is MISTER-X, a "black" pocket born on the wave of DIABOLIK's success.
The character is graphically created by Tenenti; Melloncelli gives him a name, creates the headline logo and scripts the first four episodes, leaving the task to Alfredo Saio and Andreina Repetto. At that time the "blacks" are having an extraordinary response but they also create many problems for their publishers, who often receive complaints or are at the center of controversy due to the violent content and full of sexual references of the stories.
In 1965 Melloncelli is contacted by Sergio Bonelli, who proposes to collaborate with ZAGOR. The result of this meeting are two issues of the Lampo Series, a strip series that hosts the saga of the "Spirit with the ax", published in June 1966. In that same month, the third RED series debuts on the third issue of Series Araldo. BUCK, signed by Melloncelli for the texts and by Sergio Tarquinio for the drawings. The series ends with the third episode, published in the fifth and last issue of the title.
The short collaboration with Sergio Bonelli ends with RED BUCK, which puts him in contact with the French Éditions Aventures et Voyages. Here he is entrusted with the texts of CARABINA SLIM, a western genre series created by Onofrio Bramante and later published also in Italy by the Travel and Adventure Editions of Milan. It is still Melloncelli who remembers the collaboration with Bernadette Ratier's publishing house:
"I left Friday night for Paris, by train; I spent the weekend in the French capital, just long enough to recover my work and return to Milan on Sunday evening. In the morning I was back in front of my desk. It was a very tiring time ".
In 1967, the writer resumed contacts with the publisher Balzarini, for whom he created the large-format BOOM magazine magazines - of which he also created the logo - and EROTIC DETECTIVE STORY, dedicated to an adult audience. On this last magazine he also wrote a series of short comics designed by Pietro Gamba, which was signed under the pseudonym of Peter. In this period he established new collaborative relationships: he wrote four episodes of JNFERNAL, a “black” genre series created by the publisher and journalist Nullo Cantaroni and by the cartoonist and novelist Alberto Ongaro; writes the texts of the first six issues of the "noir" SANGÒOR and the first four of "CHE" GUEVARA, an interesting comic adaptation of Ernesto Guevara's human story a few months after his tragic killing. The two pockets are published by Nuova Edizioni Hyndra by Amos Zaccara and entrusted to the designs of the omnipresent Tenenti.
Another important work is with the publisher Battista Arcaini, who with the Cenisio brand publishes some important comic magazines for children. Melloncelli wrote numerous episodes of TARZAN and RIN TIN TIN and wrote the texts of the TUNGA series, THE INDIAN SHERIFF and PANTERA NERA, both illustrated by the established Guido Zamperoni and appeared in the appendix to TARZAN. The end of the decade and the early seventies saw the Milanese writer write the dialogues of some erotic photo-stories for the monthly TAB, still published by Balzarini, and create the adult series GIALLOHORROR, designed by Eros Kara, and LE GUERRIGLIERE, entrusted to the pencils of Lieutenants. Published by the Insubria editorial, the two pockets do not meet the public's favors and are interrupted respectively in the fourth and third issues, in May 1972. Here is how that period resurfaces in the memories of Melloncelli:
"The publisher was an old man or maybe he seemed so because I was younger then. When I went to the office I always had a feeling of discomfort, a kind of uneasiness as if something was wrong in the right direction. Then, one day, the ineffable publisher disappeared ".
This controversial experience, made up of tight deadlines and comics in which he does not believe, makes Melloncelli mature the desire to end a career that is taking him away from those motivations that led him, just a decade earlier, to write comics.
Napisao:
Gabriele Ferrero |
| mogorovic |
Posted - 14/08/2019 : 23:30:27
quote:
Originally posted by velka031
Da... Sve što je radio na Zagoru je očajno.
+1  |
| velka031 |
Posted - 14/08/2019 : 22:03:51
Da... Sve što je radio na Zagoru je očajno. |
| DODSFERD |
Posted - 14/08/2019 : 22:02:44
U pitanju je ova ''genijalnost'' i završetak u kojem Zagor kukavički pobjegne a da prethodno nije napravio što je planirao.
Možda su u Bonelliju priču greškom objavili u Zagorovom umjesto u Texovom serijalu, što bi značilo da je Dnevnik potpuno pogodio s odabirom naslovnice. 
 |
| velka031 |
Posted - 14/08/2019 : 22:00:14
Neprijatelj iz sjene? Skriveni grad? |
| ziro |
Posted - 14/08/2019 : 21:50:24
Na koju epizodu misliš? |
| DODSFERD |
Posted - 14/08/2019 : 21:37:36
Cesare Melloncelli - autor priče s najbesmislenijim završetkom ikad napisanim u Bonelliju. |
| ziro |
Posted - 14/08/2019 : 18:29:00
quote:
Originally posted by Vlladimir
quote:
Originally posted by ziro
Jel zna neko možda više ko je bio taj lik, jel pisao šta osim onih par epizoda Zagora, pošto ja ne znam da jeste išta sem toga?
Kako je dospeo na Zagora itd.
Ako je to taj Ćesare/ Cezare, onda se radi o liku, koji je pre pisanja scenarija, radio u bolnici, gde je upoznao lika koji je valjda pisao neke žurnale i publikacije pri bolnici, pa kad je video da je Cezar talentovan za pisanje, taj lik (tako ga zovem jer se ne sećam imena) je Cezaru predložio da napišu neke svje skriptove i da ih ponude nekim novinama, izdavačima itd.
La scuola je čini mi se, bio izdavač koji ih je prihvatio, i prvi njihovo izdanje za koje su napisali scenario je bio Džimi Klark.
Nakon toga, Cezar je upoznao Đina Balzarinija koji je vodio izdavačku kuću Cervinia, i tu je pisao western scenarije, i verovatno je to doprlo do Bonellija, koji ga je angažovao 1965 na Zagoru.
Posle toga, sarađivao je sa još par crtača iz Bonellija, tipa Tarkvinio i Ongaro, a onda se vratio kod Balzarinija, i nastavio da piše za njegovu izdavačku kuću. Osim westerna i avanturističkih scenarija, sedamdesetih je pisao i erotske skrpitove, od kojih su neki čini mi se (ali nisam siguran) ilustrovani od strane Bruna Marafe.
Osamdesetih se totalno povukao iz strip miljea. Bar ja toliko znam.
Hvala na informacijama |
| Vlladimir |
Posted - 14/08/2019 : 18:13:25
quote:
Originally posted by ziro
Jel zna neko možda više ko je bio taj lik, jel pisao šta osim onih par epizoda Zagora, pošto ja ne znam da jeste išta sem toga?
Kako je dospeo na Zagora itd.
Ako je to taj Ćesare/ Cezare, onda se radi o liku, koji je pre pisanja scenarija, radio u bolnici, gde je upoznao lika koji je valjda pisao neke žurnale i publikacije pri bolnici, pa kad je video da je Cezar talentovan za pisanje, taj lik (tako ga zovem jer se ne sećam imena) je Cezaru predložio da napišu neke svje skriptove i da ih ponude nekim novinama, izdavačima itd.
La scuola je čini mi se, bio izdavač koji ih je prihvatio, i prvi njihovo izdanje za koje su napisali scenario je bio Džimi Klark.
Nakon toga, Cezar je upoznao Đina Balzarinija koji je vodio izdavačku kuću Cervinia, i tu je pisao western scenarije, i verovatno je to doprlo do Bonellija, koji ga je angažovao 1965 na Zagoru.
Posle toga, sarađivao je sa još par crtača iz Bonellija, tipa Tarkvinio i Ongaro, a onda se vratio kod Balzarinija, i nastavio da piše za njegovu izdavačku kuću. Osim westerna i avanturističkih scenarija, sedamdesetih je pisao i erotske skrpitove, od kojih su neki čini mi se (ali nisam siguran) ilustrovani od strane Bruna Marafe.
Osamdesetih se totalno povukao iz strip miljea. Bar ja toliko znam. |
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