Whats Difference Between Grinder And Blender

DOMANDE E RISPOSTE

I started to do some 'projects and to consider planning for the next topics of this blog. I even agreed with Xavier Ceri a program of twelve of his actions with the heading "Let the numbers ", an episode per month, beginning with the January publication in early February and then continue to the end of each month. The topic of the first episode of 2011 will be the final statistics of the saga of Magic Wind . The are so many things to say and what I do not forget to write down the street and program deadlines, it always happens that I can think of other more urgent topics that are putting on hold.

Anyway, I promised a few posts on the problem of young artists, aspiring artists and writers and account to do so during February. I'd also like to take up some issues dear to me that I left out, such as poetry, literature, book reviews, mystery, esotericism and religion. Then there are photos of my meetings with the authors of twenty or thirty years ago, and my personal reviews on the subject of the stories I have written before that I asked for more party continue drafting. Of course, there are the usual advances on zagoriani programs and more generally Bonelli and those related to collections of characters Mondadori Max Bunker.

Equally obviously, will speak at length of the celebrations of fifty years the Spirit with the Hatchet . I will continue to comment, also, the various phenomena of the universe of multimedia communication and just walk out of the drawer curiosity and articles written by me in the past and I will update you on the most interesting video Zagor TV . But before storing il mese di gennaio, ho pensato di recuperare alcune mie risposte fornite ai lettori durante l'anno 2010, nel "filo diretto" che tengo da tempo in uno dei forum zagoriani presenti in rete , in modo da metterle a disposizione di tutti gli interessati. Non ho citerò i nomi degli interlocutori proprio per rendere il più universale possibile il dibattito, svincolato dalla contingenza del momento. In corsivo troverete le domande, in tondo le mie repliche.

La storia di Mignacco, criticata da alcuni per la sua ingenuità, a me non è dispiaciuta.

The Pascoli praised the "little boy" that he felt within himself and that all we should be able to rediscover. In any case, what you say gives a fairly photographic reality, as many readers particularly attentive and sensitive to understand the reasons of naivety or immaturity can not appreciate some of the stories is not properly managed or that are likely exposed to criticism well deserved , I assure you that many others, perhaps those who do not write on the Internet and read Zagor with more relaxed approach are not as outraged as the first and maybe even appreciate the stories more "naive" to remind them, who knows, the lightness of some stories time. Why then, if the same criteria with which legitimate and proper, criticizing some of the stories of today, were applied to the classics of the past, very few adventures would be saved. In any case, I will not defend any office, nor myself (although I have inherited some stories that do not belong, so to speak, my management, which however remained unpublished and only the surplus accumulated over time, otherwise outputs would be ready soon). I would just remember how in a context of mass production that sends the newsstands two thousand pages a year, sometimes it happens that someone is not happy as someone else.

I always say to me are your dialogues are sometimes too mechanical or too polished, it is conceivable that this is due to your person, your preparation, your desire to put many ideas into the pot, a lot of your stored information.

In reality, as I see it, I build my dialogues "elevated" (if at all) not to "customize" my script so that it recognizes my "handwriting", but instead to blend in Nolitta sense. That is, I believe that his characters speak Nolitta did exactly as I speak. The Zagor Nolitta speaks of polished (and I always have some phrases like "blunt the points of friction"). Just re-read the classic Zagor to realize that even Cico is expressed with a formal elegance worthy of a brilliant Oxford professor. In my opinion, I continue the tradition. If instead of writing my Zagor write a detective or a free field I had my mini-series and expressiveness, I would say to my characters swear words, if they serve the story. But I do not write more, write Zagor, and are called to take my work on the desk of an editor who is also the creator of the hero and that they want to speak as he did speak, you respect its rhythm, his type of humor, his setting of the adventure, it's scenes, its kind of stories.

I'm crazy about the tendency of interdimensional travel, so I was fascinated with the subject of "Shadows yellow " fascinated me at the time as "the mysterious source." What is my personal gripe? Which I have had a powerful idea but have not dared to leave the limits of orthodoxy Zagor and the stakes involved.

Zagor is not my character. I've got just under management, and consider myself very lucky to have had this opportunity. Sergio Bonelli is the creator of Zagor, his most beloved writer, publisher of the character. There is enough because if I try makes demands as possible to rectify it. Like all publishers, however, decide what to publish and what not. If one proposes an erotic novel to Pauline, probably will be rejected: it is part of the editorial line of the company. So, if Sergio tells me to believe that time travel should be avoided because, as he means to scrape the bottom of the barrel of the imagination, like a gimmick "too easy", even if they do not agree (because otherwise I I would, like most of my colleagues, a series entirely centered about time travel), I adapt and accept willingly the suggestion. Similarly, as everyone has their own taste in favorite topics (you told me about the your passion for the dimensional gates), there are also least favorite topics. It is no secret that Sergio does not appreciate the stories on "Romans", we always joked that the above also Castelli has put the issue in his small book on the idiosyncrasies Bonelli and talked about it in the catalog "Bold Bonelli" with the permission of the person concerned. I do not know why the injury on centurions and gladiators, perhaps because in sixty years of career as an editor Sergio has been seen to present a subject "anticoromano" once a week and you will be convinced that it is, again, the last beach banality, but all of us who work with him know that present a story in the peplum will turn up your nose. As Bonelli demonstrated in many occasions to have the pulse of his readers and he's right, we stick to this also its indication. In particular, I do I write one of your characters. After twenty years working with him, though, I also learned (at least a little ') what Sergio can accept and what not, and then try to "mediate" between my needs and hers. Yeah, because I have my narrative instincts to be satisfied, as all the writers. I just do not write my character. So, if my idea provides a cronomoto with hordes of barbarians projected to Darkwood, I have to make the most authentic guardian of orthodoxy Zagor me and ultimately I approve the post, and the most authentic guardian is clearly Nolitta, who certainly knows what they want players who are more traditional heritage and the hard core of a time series as Zagor. So, I tried to set my story in a way that, for two books flow like a traditional adventure story and mysterious, in the wake of the classic adventures of the Spirit with the Hatchet, and reveal only the last register is an arcane magic and potentially disruptive. Not surprisingly, Sergio has really appreciated the first two episodes and I was reprimanded for the third. Naturally, I objected to the time travel and I had, fortunately, good game in reiterating that Zagor not actually traveling between eras, but it's a magic to lead to Darkwood the Mongols. The story, in short, was set to be as darkwoodiana as our editor (and most loyal readers) are now insisting on. Nothing I was reprimanded by the ancient Romans, but only because I was careful not to make them appear for more than a couple of tables. It seems to me a point on my part, being able to satisfy my desire to cronomoti legionnaires and putting them in the series, however, without betraying too, at the same time, the signs of the creator and publisher of the series. I defy anyone to be able to do better, indeed. Then I know that it was possible to do so and to do what.

When I have my own series and I will be given carte blanche, I will do exactly what you suggested and I have even more, because I have my ideas too, and often are much more beautiful (to me) than I is it possible to achieve. In this "I may" not be read no controversy, because they are proud and honored to play in this team, something I consider a privilege, but right when it is part of a team working with others listening to the directions of the coach .

Have you ever had a moment of "tired" in your work as a writer Zagoria, so you found yourself thinking about something like: "What a break dramatize this Zagor ... we move on to something else?

The only time I thought (once every two minutes) to drop Zagor was when I suffered unjust criticism in the newsroom. And I thought I'd switch to something else but to go back to the baker as I did, very young, helping my father. I think I'd still be a good baker.

Why not suggest your own mini-series?

As it is obvious that the miniseries has some ideas in the drawer, but a bit 'for nature is not one that sgom, a little' I have much to do with Zagor and coming away with I can not design anything, a little 'not receive any kind of encouragement in that way by elders of the publishing house (none that say "why do not we make a proposal?"), a little 'I see the difficulties of others who have tried and failed to pass the second ideas me very good, to which I refer to a date to be my firm commitment to try and make those two or three of my projects that would seem to me pretty well. But I do not feel frustrated about this, being able to devote myself to Zagora, which feel like "my" ideal figure.

am curious to know if you have a particular method for choosing books to read, do not talk about when you do business, but in general.

Here a good question that prompted me to think about it. First, I should say that in reality books to read not I choose or not choose them enough, because I always buy too many towers that accumulate in high concern in every corner of the various houses including I move (which are at least three), and in particular on the bedside tables. If I choose to more, not sleep in the constant threat of a collapse that could kill me in my sleep (although it could be the second best possible death - and do not ask what is the first). But, in those circumstances, I try to answer some other venture. First, I often go to the library and look at all the shelves as a greedy in a candy store. It 'difficult to come out without buying something. Then, carefully avoiding all the "instant book" means any book that is dedicated to the last political scandal, to winning the championship by one team, the last actor or singer on the crest of a wave or just passed away, or publications related to a television program or written, say, from the comic of Zelig of the moment that collects their monologues. If I buy a book to be something that, at least in theory, it is destined to grow old within a year, or having to be updated. A book, for me, is forever and should remain there to mark a milestone on something. Then there are the books that I avoid for the topics that deal, which I'm not interested: psychology, economics, politics, law, fashion, sports, gossip, costume, television, automobiles, astrology, alternative medicine, esotericism and who knows what else yet. Actually I should say that I avoid the essays that speak of this in a "sectarian," ie, supporting the thesis partial passed off as universal but trying to proselytize, or too tied to current phenomena covered: do not read even the ' Morelli's last book but I read Freud, I read an economist who analyzes the current crisis, but I read Adam Smith, I do not read Bruno Vespa, but I read John Stuart Mill, I do not read the autobiography of Totti but I read the history of climbing K2, and so on. I like science books, history, literature, cinema, travel and exploration, philosophy. Among the novels or confidence to do an author I already know (I bought it with my eyes closed the last two titles by Umberto Eco and Arturo Perez Reverte, for example) or try to understand, reading the first chapter, where the writer can write or not even when the title or the cover is intriguing. Since I travel a lot, I often stop in roadside restaurants and became an expert in reading up while eating a sandwich: I read a couple of books coming to latch to a certain point in a service area and pick up where I had come to 'service area of \u200b\u200bthe next stop (in the case of "Catherine" di Antonio Socci, che mi ha lasciato un po' perplesso). Vedo subito se lo scrittore è un pulp senza valore o è un narratore di razza. Di solito, non dò chance a quelli che non mi convincono. Mi fido anche dei consigli degli amici. A volte il parere altrui mi fa leggere libri molto belli come "Caos calmo", che mai avrei comprato di mia sponte (la trama non era proprio la più entusismante, letta nei risvolti di copertina), o "L'eleganza del riccio", consigliatomi da mia sorella e sicuramente uno dei libri più belli che abbia mai letto (devo a mia sorella anche "Il cacciatore di aquiloni" e "Tutto per una ragazza", altri testi che di mio non avrei comprato e invece mi sono molto piaciuti). Ho accennato alla trama nei risvolti Cover: I think, a good book should, in principle, have an interesting storyline. The books that speak only of the movements of the soul or restlessness of life make me the milk in the knees. But if I read a mystery, an adventure, a journey, a survey of a historical reconstruction, I am very interested. Looking at my current reading I must say, however, more and more, I prefer the essays and novels. I do not know why. In any case, I started ten books that I carry in bits and pieces depending on the inspiration and mood (and the stories that I write).

About Nolitta now that I bought back the entire series of tuttoZagor, I would write a small sum of the criticisms that were leveled at his masterpieces our forums if it had existed at the time. For example: the whole story of the march of despair topical - that is, the capture of Zagor, the misunderstanding that falls on Winter Snake believing a traitor, as Zagor is tied up and can not reveal the truth, the resulting attack of the Kiowas, the execution of the ants, the encounter with Frida, and then everything else - from the moment they are born Zagor is captured ... believing that instead of a trap it is another admirer. And he delivered himself to the attackers, with a faint-hearted "Next, I am ready for another stroke!" One of the thugs in Memphis Joe also says that " got caught like a fool. "Next, what we said we would? That is not possible, such ridicule is not never seen it, you can not be so stupid Zagor, that the enemy can not do with it as a mockery, we lacked only began to unfasten his pants, now you've done away with its ability to give advance notice of the dangers. Force Moreno, who are strong!

Nolitta The audience for which he wrote was, fortunately for him, very different from what we write today We writers heirs. It is not just a difference in age (probably at the time the players were very much younger than those of today) but also in attitude, culture, sensitivity. In any case, talking to young Nolitta grown seeing the TV series Zorro and Tarzan movies, also used to reading comics, and proposed a character on their own wavelength. Today the boys have grown to Japanese cartoons and video games, and only read the messages on Facebook. The audience of old, including adults, were amazed more easily than today have seen it all, readers were once more willing to "suspension of disbelief", to this day there wants to hypnotize and make them dream. Nolitta Even today, much more difficult and would probably bowls me or Mignacco a scene of the attack such as that of "Memphis" Joe "Messages di morte". Anzi, oggi staremmo attenti anche a un altro particolare. Fateci caso: all'inizio dello stesso albo, Zagor e Cico lasciano Fort Trust decisi a raggiungere la carovana dei ricchi europei cacciatori di bisonti che minaccia di scatenare una guerra indiana. La logica vuole che Zagor debba raggiungere i carri del barone von Swieten nel più breve tempo possibile, o i danni saranno irreparabili. Per arrivare alla carovana c'è da attraversare una prateria. Zagor e Cico si incamminano a PIEDI. Perchè non si procurano dei cavalli al Forte? A me, lettore dell'epoca, il fatto che lo Spirito con la Scure si muovesse camminando anche in quel frangente andava benissimo e mai ho trovato che ci fosse un problema in questa scelta. Oggi, come sceneggiatore e editor, I would place the problem.

One of the charges that you most often hear is that of "explanation." I struggle to understand what you're talking about. How can I be accused of any explanations author claims to construct a story that has a minimum of suspense, intrigue, skeleton, survey, construct, mystery, research and so on. Let me know, removing all of these ingredients, what you build an adventure? Be it in the west, in the west of Zagor fantastic or at any other juncture? What you should reduce a history of Zagor? He who jumps from vine to vine like a maniac shouting 'ayaaak' like crazy, landing between people, Waving like a madman extracting information to the sound of punches, and apportionment among the trees?

I too have the same concerns, but whatever I think, in twenty years of screenwriting, having written stories of all kinds, something for everyone, trying to satisfy every need, but also trying to not to betray the character as I think I know him. However, my versatility and this "generosity" of ideas (forgive me if I may say to yourself, not a substantive proceedings, only the "quantity" that is a fact) ends up not having acknowledged by critics, from which, however, I can not claim to be appreciated. If there are detractors, are detractors. What do we want?

While on the one hand, that Zagor has not had many "business" in his romantic life on stage (then, you yourself have written about what happens behind the scenes we can not know ), it is also true that to date you, even with thousands of tables dramatized, you have not created a "your" woman of Zagor. Yet one can not say that you do not know nor characterize female characters of great depth (Denise Lafitte, Sophie, Duff, but also some children, I remember Eyes of Heaven), nor that you do not you know how to get away with the flirts zagoriani invented by others (Gambit). Why, then, this "gap" persists?

E' molto semplice: Zagor non è un mio personaggio, ce l'ho soltanto in affidamento, e ho un grande rispetto per l'indirizzo che Nolitta/Bonelli (il creatore, principale sceneggiatore ed editore dello Spirito con la Scure) decide di scegliere per la sua creatura. Mi è capitato diverse volte di confrontarmi con Sergio e il suo consiglio è sempre stato quello di non far vivere storie di cuore all'eroe di Darkwood, dato che ci sono stati, nel passato della serie, momenti romantici che giustamente devono restare "particolari" e che sarebbero inevitabilmente sminuiti se si ripetessero troppo spesso. Proprio perché altri sceneggiatori si sono presi, in altre epoche, maggiori libertà, Now the choice is to stay, at least for a while 'time.

As for the aging but also Zagor Tex we know that aging is a `front 'in the sense that we realize that progress in this' age when our stories a story or adventure that they lived before the beginning of the series, or when they meet again old friends or enemies surely already seen that mark on their journey time, or even when you talk about their past or that of the supporting actors. However is it just me, or my definition abstruse fact that Ferri is aging as our hero some basis of truth?

Regarding aging, we know that Zagor is a hero of a comic book series, and blessed him, never gets old. But in the narrative coherence of the universe, the Spirit with the Hatchet does not know how to be a fictional character: it is as Jack Slater, the hero played by Arnold Schwarzenegger in "The Last Action Hero." So there is that before throwing in a hazard may think that'll pull through because the writer will find a way to get it out unscathed: he thinks he really risking their lives. Thus, presenting himself to the Indians, could not have said, are not immortal and never grow old, because from his point of view he knows he is mortal. After ten years, must provide that the Indians will find that mind. So, intelligence suggested him the hero must not shoot too big and not expect him believe invulnerable (since the injury will be seen) or forever (because the lines will increase). That's why I am convinced that the logic requires that what the Indians believe they can, and Zagor has thought to tell them, whether he enjoyed the protection of Manito to protect the mission of which was spent on its merits as a man came and courageous. A protection is not free and automatic, but subject to the fact that it continues to be just and brave, so the fact that if the merits Zagor. About Ferri aging Zagor può essere: anche Galep invecchiava Tex. I disegnatori tendono a dare al proprio eroe il proprio volto perchè disegnando mimano le espressioni e/o si guardano allo specchio. Tuttavia non mi pare un fenomeno troppo vistoso.

Sono rimasto meravigliato dalla prima vignetta di pagina 19 dell`albo "Magia Indiana" Ebbene,proprio in quella vignetta Zagor appena presentatosi ai Sakem di Darkwood dice testuali parole: "Continuerò a essere al vostro fianco ANCORA A LUNGO fratelli rossi....per aiutarvi a vivere in pace fra voi e con i bianchi". Ebbene,proprio quell`ANCORA A LUNGO mi dà da pensare: ma come?Se tutti gli indiani a parte MOLTI OCCHI ritengono ZAGOR un vero spirito immortale dovrebbero dare adito a quelle tre parole del that in our practice implicitly admits to himself that perhaps he really is not immortal, even presented himself as a god fallen from the sky!

Personally, without denying anything of the myth as well as Zagoria Nolitta imagined fifty years ago (taking it a bit 'on loan from the Masked Man), I tend not to tread in the hands of the alleged immortality Zagor. This, not to make it look like the Indians of the gullible ready to be hoodwinked by a charlatan of the first step, and therefore out of respect for the Indians. This does not mean that Zagor should not do his tricks, and in fact I do them to him and invite other writers to invent new ones. However, tricks have to be very good, the aim must be noble and above all the aim must not seem to mock the natives but to satisfy their spirituality, speak their language of symbols, respect their beliefs. The idea that I have done is that Zagor is not intended as an immortal, but as protected by the Great Spirit, as well as inspired by him and invested with an important mission. Zagor that is not invulnerable, after all, the Indians have seen it a thousand times. And if our hero could not die, not even heroic. What courage it takes, to an immortal, the jump in danger? Instead Zagor suffer and may die. Probably also see all the old, so could not believe it immortal. What the Indians believe, in my opinion, that Zagor has the support of Manito in so far as fighting on the right side: if it should be in the wrong, you lose this protection. That said, even assuming, however, that Zagor is immortal, the phrase "I will continue to be at your side for a long time" (which are not even went to check, taking it on the good word) does not contradict anything in the legendary aura surrounds the Spirit with the Hatchet. One may be immortal and play the role of defender of Darkwood only for a long time and not for eternity. Maybe after a hundred years Zagor moves to protect the people of South West or those of the Amazon. Having to obey the will of Manito, Zagor is also ready to move or change their mission. Only promises that his mission will last much longer. That's it. For a long time can mean a thousand years, for another, which is almost eternity, for my part (in the time scale of my life, that is). I do not know if I have been convincing, but I tried to be.

You set the design in a line, describe the characters and the environment with such a precise text. I guess then that this envelope with the script to give the designer and you know, you'll be more verbose or not depending on how you know that you will play. But the plan, how much can afford to change the division of the table in the text or cartoons? The text should always be respected and literally? Another question: there is a story of "models" in length? if so what are they? Let me explain: As you already know the story should be long tables in the narrative, and then adapt to that or go freely and when it ends, it ends (except when physically to end with the end of the register)? I know they are naive questions, but I have always been interested in the details, all the hard work of preparation is hidden behind the finished product.

Indeed they are sometimes more sometimes less detailed, not only based on the talent of the designer (though I know it is clear that certain Scenes may be more problematic for someone, I try to explain better, but if I am convinced that those who go on the draw pile are very essential) but also by the difficulty of the scene to illustrate. If it is just to walk in the forest Cico Zagor and not have to explain anything special, just ask the designer to refer to a thousand have already seen examples to understand the situations. If it comes to describing a new environment (such as the port of Callao in Lima where Zagor has landed in a story I'm writing now) encyclopedic description and documentation. They are more careful with the new design is more relaxed with those already tested, as is logical. The designer, in theory, can not afford to change the division into cartoons nor the dialogue, but if you notice an obvious error in a balloon or have an idea to improve the scanning of the scene can call me and suggest a change, since all the work best possible result. Of course if I write vignettes that serve six four and I find myself, if I ask a long shot and I find a close-up, not good: to each his work! Again, yes. Literally, no. We try to work together to get the best, each according to his talent. I suggest a scene, a shot, sometimes only at the situation, the designer is called upon to make sense rather than the letter of the scene. I do picere if a designer is involved in the story and feels the way he plays, putting us his. But "interpretation" is, in fact. As a singer who plays a song: it respects a text, a score, but how much difference between an interpreter and another! The models are a long roll of 94 pages (for example, an Almanac), a register of 160 pages (the Special), 2 books = 188 pages, then three or four rolls if their is a major story. For Maxi, we decided to do more stories of just 318, but 286 (or less, down to sixteenths). Usually we try to stay within these limits. Then, if you need some stories special lengths spurious (two and a half albums, three albums and a half) if I can speak. Obviously the length of a script must be proportionate to the events planned by the subject. It is not possible to fit in 94 pages the events of "American Odyssey", you can not expand in four books the facts of Indian Circus (if there are only those). Generally I do not go freely, try to stick to the limits, and above all try to respect my "metronome" inner ring "on time" on the basis of the rate of Zagor, so without stretching the broth without sobbing or syncopated. Then, if new ideas that came to my narrative or special needs that make me understand I can not be in two or three albums accurate books, I decided to lengthen (if there are times and for the sake of the story).