#Diabolik, il Re del Terrore, rappresenta nell'ambito del panorama italiano un fumetto di rottura. Non solo perché propone per la prima volta la figura del "cattivo vincente", ma perché segna indelebilmente un periodo storico, quello dell'Italia dei primi anni '60, che accoglie Diabolik con un misto di diffidenza e paura. Tra sequestri e denunce Diabolik invece si afferma negli anni e oggi è quell'icona che ognuno sa riconoscere. Protagoniste di questo fenomeno – raccontate da chi ne ha preso il testimone - due donne coraggiose e all'avanguardia: Angela e Luciana Giussani, creatrici del personaggio più trasgressivo dell'epoca. Intervengono: Mario Gomboli, Patricia Martinelli, Tito Faraci, Enzo Facciolo, Andrea Pasini, Andrea Cappi, Alfredo Castelli, Giuseppe Palumbo
#Crime #TrueCrime #Delitti #Misteri #Killer #SerialKiller #ColdCase #Cronaca #CronacaNera #Mistero #Delitto #Documentari #Documentario #Docu #Doc #DivinumCrime
#Crime #TrueCrime #Delitti #Misteri #Killer #SerialKiller #ColdCase #Cronaca #CronacaNera #Mistero #Delitto #Documentari #Documentario #Docu #Doc #DivinumCrime
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00:283
00:38Now we give you a recipe that is not too complicated, quite practical, it is called the egg with
00:46diabolical, take an egg that is oval and medium sized and then take a saucepan
00:57some hot water and bring it to the boil, then immerse the egg delicately so as not to burn yourself
01:05and leave it immersed for about 4 minutes, put everything under cold water, remove the egg
01:15and remove the shell, cut in half and serve with a little oil and salt to taste.
01:24And excuse me, but why is it called the devil's egg?
01:28Because it's stolen.
01:41The diabolic is the criminal to court, his life is devoted to the satisfaction of a goal
01:47which is to test oneself in theft.
01:52You have a taste for challenge, for this challenge against power.
01:56Weak has been stealing for 50 years and has therefore accumulated a good amount of money, then he steals from the rich
02:04obviously he steals from the poor, he's vulgar about it.
02:11He is the hero of the night, he is the diabolical black and he goes with this all unmistakable.
02:17It serves to be a handsome man of yours.
02:23And only the eyes remain outside, the famous cold steel eyes of diabolic.
02:35Diabolic is unscrupulous, when it is necessary Diabolic kills without even
02:40think about it.
02:43If I see a policeman, I kill him.
02:50He's never sadistic, but he's definitely bad, a good girl of mine.
02:53He performs impossible moves, and the more impossible they are, the more he dictated them, together with the
02:59his partner Eva Kant, to whom he is bound by an extraordinary and completely reciprocated love.
03:10They are two people who were meant to be together and they're fine like that.
03:15Diabolic is a thief and also a murderer, to tell the truth, but he has a very strange
03:21ethics.
03:26The dagger is the diabolical weapon.
03:30That swish, typical dagger-throwing mood.
03:34In general, besides the dagger, he uses only edged weapons, silent things.
03:39This is a choice that can be traced back to the elegance of the staff.
03:48The jagua is a recurring element, but also the most surprising element of the stories.
03:53diabolic, because in every story diabolic runs away, but it's a trick to escape.
03:59Each time it is a different trick and often they are tricks inserted into the jagua itself.
04:03Over the course of 50 years, I believe that on the Jaguar Diabolic he has mounted, I am not exaggerating, a good
04:10400-500 different tricks.
04:18It can become a boat, it can fly, it can split into several parts.
04:25So the jagua also becomes something else.
04:28Even the jagua seems to be wearing a mask.
04:30Diabolic is called the man of a thousand faces, because he can change his face thanks to
04:36his famous plastic masks, which he wears like a hood.
04:40He can make masks that allow him and the paper to assume
04:46any identity.
04:55Diabolic essentially finds its playground in Clerville.
04:59That is, it is his homeland direction.
05:01In Proda in the world of Clerville, where there are many rich people, so what to do?
05:06To steal them by the package.
05:10The city has been corrupted.
05:13There is a shortage of monuments, there are some pizzerias, many luxury restaurants, museums
05:22in industrial quantities and all displaying very precious jewels.
05:29Diabolic is a man who lives completely outside the law, completely beyond
05:33outside the system, but who does not feel the need to overthrow the system.
05:37The system, in fact, is a playmate for Diabolic.
05:40Angela Giussani who in 1962 plays a negative character who kills and manages to escape
05:50justice.
05:51That is, it didn't exist, it wasn't there.
05:53A corroded world, a world based on hypocrisy.
05:57That the Giussani sisters, who knew the Milan G7 in the 60s very well and the
06:01there is night, they wanted to somehow represent it also in Clerville.
06:04This world where everyone wears a mask.
06:07The mask, without having to wear it.
06:09Behold, this world generates within itself a disease, a kind of nevesis.
06:13This disease is called Diabolic.
06:27Diabolic is a job.
06:30We don't draw ourselves up to the environments or the people, etc.
06:34It is a fictional story that is constructed according to fixed canons.
06:40My sister went back to reread a Fantomas in 1962, right?
06:46Besides, she had a great time, right?
06:50To reread it.
06:52Arsène Lupin too, right?
06:54And then, inspired by these two characters, right?
07:00He created this Diabolic.
07:03The Giussanis were two wonderful people to work with.
07:07They were very pleasant and in their own way extraordinary characters.
07:12They weren't snobbish, they were certainly not haughty towards those who arrived, as they said, in short pants.
07:19The Giussanis were certainly women far ahead of their time, and they were so for a thousand reasons.
07:25They were very emancipated women.
07:26In 1962 they set up a publishing house that began publishing Eabolic, the most scandalous comic of all time.
07:33those years.
07:41Brother Giussani was not a comic book novice, as some people said, he had published some things, he had studied them carefully.
07:47this medium, they had a sense of how it should be done.
07:51Angela's husband, Gino Sansoni, was the editor of Forza Milan.
07:55He was also the publisher of Astoria, which already from the name sounded like the older sister of Astorina, the publishing house
08:04of the Giussanis.
08:05The really strong idea of Diabolic was to bring a bad and winning character into the comic.
08:12popular.
08:13With Diabolic, Giussani's sisters invent a genre and a format.
08:17These little ones have more than 100 pages, 120, with a few cartoons.
08:22The Giussani sisters, who had their office near the Cadorna station, which is a station that brings people every day
08:28a lot of commuters from Inter Milan,
08:31they thought that these commuters needed something to read that wasn't just the Gazzetta dello Sport,
08:38that it was something simple to read, both from a practical point of view, therefore something attackable,
08:44but as a story with dark, strong tones that ends in 30-40 minutes of reading,
08:50that is, a journey.
08:55There are many laws regarding the origin of the name Diabolic.
08:59Angela wanted it to refer to the devil because the devil is by definition evil, by definition ferocious.
09:09They were looking for a completely different name, and at a certain point Diabolicus came to mind.
09:16The idea of including the hood was given to the Ku Klux Klan, not that the sisters were racist,
09:22but the idea that the hood was a negative thing, by extension they put it to close the names of
09:28Diabolical.
09:37At the beginning, when they were starting out, there wasn't a distributor who wanted to distribute the comic.
09:44They went all over Italy, from one newspaper to another, telling them where they should put it, in short.
09:51And there was also this nice little thing here.
09:55One of the things that most Giussanis feared was becoming the target of maniacs.
10:02And so they didn't film Angela and Luciana and they didn't want anyone to know that they were two women, they filmed
10:08A.L. Giussani.
10:09After a year Mondadori called him to see if they had any Ebolic to print.
10:23The first issue of Diabolic has many mysteries behind it.
10:27The initiator appears to have been called Zarcone.
10:30They called Giussani the German because he went around in socks and sandals.
10:33After having done the first issue, and very briefly at that, he didn't even finish it all himself,
10:37some tables were then drawn by Brenno Fiumali, he disappeared into thin air.
10:41Nobody ever heard anything more about it.
10:43On the occasion of the twentieth anniversary of Diabolic Giussani took Tom Ponzi to do a research
10:48and not even Tom Ponzi found out who had done it.
10:56I remember very well when I bought the first issue of Diabolic,
10:59which was actually 62, I also bought it based on this adult writing.
11:04Instead in Diabolic there were no naked women and it was also drawn rather badly,
11:08so I was very disappointed.
11:10When I read it, though, I was impressed.
11:12The story was interesting, it had a certain charm.
11:21Diabolic is more of a hit-maker in the plural.
11:25Our readers are like many different audiences
11:28and they love Diabolic for diametrically opposed reasons.
11:31It's like a word you find in the Diabolic dictionary, in short.
11:35It's part of Italian culture and society.
11:41Everyone knows he's Diabolic.
11:43She's definitely a huge pop icon.
11:52If someone used to call Eva Kant Compress,
11:55I think he would find a knife in his throat or a sleeping needle on him.
12:03Eva Kant was, in the intentions of the Giussani sisters,
12:08a version of Grace Kelly, a noble woman of character, beautiful.
12:14Eva is the completion of Diabolic.
12:19She is a woman capable of thinking exactly like Diabolic.
12:22She's an expert thief, almost as good as him.
12:26He is also an assassin when necessary.
12:28Eva is a much more dangerous enemy than Diabolic, without mercy.
12:32In other situations it can get into trouble
12:34because he gets emotionally involved in circumstances or people.
12:40He is also an extremely independent character.
12:45Within a few years it quickly became autonomous.
12:50In the first episode in which Eva Kant appears, it is she who saves the skin of the head of state.
12:55She picked up a fake diamond at the first meeting.
12:58Never before had such a role reversal been seen in comics.
13:02She is a woman who has a very painful past.
13:05She has learned to cope with many difficulties.
13:08She had to fight against men who deceived her.
13:11She has become a woman who is not harsh, but very determined, self-confident, cool-headed, and makes quick decisions.
13:21Just what Diabolic needs, in short.
13:27He rejected a world of men that sees everyone as equal
13:31and she gets together with the only man who is indifferent to all other men
13:35that he has known and that he will ever be able to know.
13:42Inspector Ginko is the son of a judge
13:45who is arrested for corruption
13:48and then admits to his teenage son that he is guilty.
13:55To redeem this shame of his family
13:58the police enter and then become the inspector.
14:01And from then on Diabolic becomes his target.
14:04Ginko is extremely capable.
14:06If Ginko were not constrained by his own morals, by his own ethics
14:11to follow the rules and could play on equal terms with Diabolic
14:14if they would really see it head to head
14:17and not like now where Diabolic almost always wins.
14:19Not the noir story, policeman who opposes the criminal
14:23and is in a certain sense a mirror of it.
14:25Ginko is one of Diabolic's reasons for living.
14:27Diabolic needs an opponent who is on his level.
14:36Ginko's eternal finance,
14:39Tartea of Wallenberg, a girl from Lucca.
14:41And she too proves to be a woman of character.
14:45He allies himself with Ginko against the will of the local nobles.
14:48in front of Ebolito Musuturo
14:50and becomes Ginko's companion
14:53even if they never get married.
14:55This great love is born
14:57which was very characterized at the beginning
15:00from the fact of the great duchess
15:01with the poor policeman.
15:03Altea is now officially in line with Ginko
15:07she is in love with Ginko
15:10how Eva is in love with Diabolic.
15:13Their love is now confirmed.
15:20The artists of the first episodes, with all due respect,
15:23they were a bit like the beginning.
15:25That's why the Angel was telling
15:26which they had once asked to put in the background
15:28the Eiffel Tower
15:29and the designer had drawn
15:30an Enel tradition.
15:31When Facciolo arrives,
15:32around 63, Enzo,
15:34Facciolo is one of the first designers
15:36truly professionals from Ebolito,
15:39suggests a more different whole
15:40that I would highlight that musculature
15:43which the Giussanis held very dear.
15:45On the face, the fact that it was a tights
15:49It greatly limited the expressive possibilities of the designer.
15:52And so he began to draw it
15:54as if it were practically one
15:55with his face painted black.
15:56Facciolo's drawing is very characteristic
15:59especially in the details.
16:01He's a characterization maniac,
16:04to define in every beard hair.
16:07In the early days the effort was difficult.
16:09I used to draw in pencil,
16:12they passed the pencils to these people
16:15who wrote the lyrics,
16:17they put the balls on her,
16:18they gave her the pages back
16:19and I stuck them in place.
16:21I worked like a beast.
16:23I even brought my work
16:25on their honeymoon.
16:31I do it in a way
16:32he canonized the character.
16:36He defined the look,
16:37he perfected the costume.
16:40Zanibboni instead,
16:41after the canonization,
16:43in a certain sense,
16:44part for further stylization
16:48of the character.
16:49The first time you see me
16:50Sergio Zanibboni's pencils
16:52I had a stroke.
16:55Excellent.
16:59Where Facciolo increases
17:02the definition of detail,
17:03Zanibboni, on the other hand, is more subtle,
17:06he dries it.
17:06In his pencils,
17:08for the first time,
17:09the Diabolic is as if,
17:11instead of the suit,
17:12had on a skin.
17:13They are really two different ways
17:15to understand the characterization,
17:17the set and the characters.
17:19I draw exactly like I did 50 years ago.
17:22Nothing has changed.
17:32The beautiful thing about comics
17:34is that you can still do it
17:35with pencil and ink.
17:37It's such a poor art still
17:40which is beautiful for this reason, in short.
17:47I have been dealing with this for ten years
17:49of the design of the so-called,
17:51we could define them as prequels,
17:52of the story of Diabolica
17:54and the characters associated with him.
17:58They asked me to make this Diabolical
18:00very sinuous, very modern,
18:03very contemporary.
18:04Muscles tense, dry,
18:06a swimmer's physique,
18:08I was told.
18:09I was also asked about my eyes
18:11not to make the eyelash line
18:13with a single stroke of the brush,
18:15but to try to make the eyelashes
18:17more vaporous, more designed.
18:20for me it's about drawing that look.
18:23Every time it's, how can I say,
18:25a contractual commitment
18:27almost with the character,
18:29to be able to make it every time
18:32that look,
18:33that intensity.
18:42Diabolical must always be
18:44a shadow that flickers.
18:46Very often parts of his body
18:48they are swallowed up by the shadow itself.
18:51A Devil in full light
18:53it is to be avoided.
18:58The writer Ginko
19:00he discovered
19:01that Mr. Maier
19:03who lives in a luxurious villa
19:05and that more in now
19:05he was an unsuspected man
19:07It's diabolical.
19:09The Giussanis invented
19:10a different way
19:10to write the comic sagramates.
19:12The Giussani School
19:13is to clarify everything,
19:16all the various steps,
19:18because to the reader
19:19let no questions remain.
19:21So everything is studied
19:23down to the smallest details.
19:25The situation here is dramatic
19:27because he is in front
19:28to an armed man.
19:29For example he had
19:30an electromagnet from behind
19:32that attracted the guns,
19:34attracted Ginko's gun.
19:36A magnetic field,
19:37a force.
19:39They taught one thing
19:41in my opinion fundamental,
19:42that is, the construction of history
19:44in an almost mathematical way.
19:46The classic canonical sequence
19:49shot, failed shot,
19:51escape, second shot,
19:53satisfaction,
19:53the final kiss.
19:54It's really amazing
19:56like Diabolik
19:56it's truly a team effort.
20:01I have never written
20:02a Diabolik script
20:03in 45 years of collaboration.
20:05I have written many subjects.
20:07Often a story can have
20:09a person who provides the cue,
20:11then generally there are some
20:12a couple of others
20:13which make him become a subject.
20:15They are also subjects of 20 pages.
20:18That's practically the whole story already.
20:21articulated,
20:22the only thing missing is the dialogues
20:23and the division into vignettes.
20:26That this is done instead
20:27from the screenwriter
20:27which is usually
20:28a further figure.
20:41Any passionate Diabolik
20:42recalls a particular album,
20:44a register of 68
20:45which is titled
20:46Diabolik, who are you?
20:47And that some consider
20:48a more important comic than Diabolik.
20:51They are found in which
20:52days together
20:53Ginkgo and Diabolik
20:55they both look like
20:56destined for death
20:58and then at that point
21:01Ginkgo asks him to tell
21:03Diabolik's past.
21:06His past
21:07that's it
21:08of a child
21:10escaped
21:10to a deal
21:12of a ship.
21:12He is saved
21:13from these criminals
21:15that carry it
21:15on this island
21:16from the Far East
21:17dominated
21:18this Mr. King
21:19who trains him
21:21like his godson
21:23to the criminal arts.
21:26King had
21:27a black panther
21:28stuffed
21:29in his study
21:31and this panther
21:32his name was Diabolik.
21:33Diabolik
21:33the name is taken back
21:34of the panther
21:35and from that moment on
21:35they left
21:36for life.
21:39Thanks to Mario Gombo
21:40and above all
21:41it was built
21:42a kind
21:42of continuity.
21:44Writing today
21:44Diabolik
21:45after 800 episodes
21:46it is obviously
21:47much more complicated
21:48than it was
21:49for the Giussane
21:50in the 60s
21:51that they had
21:51about fifty spaces.
21:52Before each episode
21:53was independent
21:54except for a few small ones
21:55return to the past
21:56now this change
21:57what's in Diabolik
21:58in a continuity
22:00in a perception
22:01of one's past
22:02it manifests itself
22:03in the specials
22:03in big Diabolik
22:05summer
22:06and above all
22:06spring.
22:08It's a story
22:08what script I write
22:09and which take place
22:10in the early years
22:11by Diabolik.
22:12The years lost in blood
22:13it's a story
22:14which is located
22:15in the intermediate period
22:17between the killing of King
22:19and the arrival
22:20by Diabolik
22:21to Clervin.
22:23When Tito
22:24he told me
22:25that that one
22:25it would have been
22:26the story
22:27in which we see
22:27for the first time
22:28Diabolik
22:29in his costume
22:30that is, the founding act
22:33figuratively
22:34of the character
22:34well there
22:35it was really
22:36a responsibility
22:38remarkable.
22:39It often happens
22:40that our story
22:41maybe it'll be born
22:42from an idea
22:43which is not necessarily
22:44it's ours
22:44rather often
22:45ideas come
22:45from the outside
22:46they come from collaborators
22:47but also sometimes
22:48from readers
22:49because our readers
22:50they are very generous
22:51in sending us ideas
22:52in sending us
22:52possible subjects
22:53for example
22:54a story
22:55of a summer
22:553 or 4 years ago
22:57comes from a reader
22:58who wrote
22:59saying
22:59my wife
23:00it's a big one
23:00Diabolik voter
23:01we know
23:02that Diabolik
23:02and Eve
23:02they can't have
23:03the children
23:04why do they continue
23:04to escape
23:05to the police
23:05but
23:06my wife
23:06would like to see
23:07Pregnant Eva
23:09At that time
23:09it came to me
23:10this idea
23:10why don't you do it?
23:11that Eve
23:11takes the place
23:12of a pregnant woman
23:13in the end
23:14an episode came out
23:15where on the cover
23:16let's see Eve
23:16with a big belly
23:17the same story
23:18the one he did
23:19so much scandal
23:193 years ago
23:20of the secret
23:22of the Fortress
23:22in which there is a character
23:24homosexual
23:25It comes from a reader
23:27that he had written
23:28saying
23:28In short
23:29you talked
23:30of drugs
23:30of prostitution
23:31of white routes
23:33and you have never
23:34made a character
23:35homosexual
23:37the problem
23:38is that it doesn't exist
23:39a real manual
23:40what is it about
23:41correct
23:42and what is not correct
23:43write Diabolic
23:44you acquire it
23:45with reading
23:47you acquire it
23:48story after story
23:53we believe
23:54that in Diabolic
23:54there is nothing
23:55that may offend
23:56modesty
23:57of a boy
23:58there is only
23:59the violence
24:00due
24:01to yellow
24:08Diabolic
24:09was
24:10a comic
24:10of rupture
24:11up to Diabolic
24:12the comics
24:13they were a product
24:13for children
24:14or for boys
24:15ignorance
24:16and myopia
24:17of praetors
24:18parents
24:19priests
24:20it was just
24:20that of not knowing
24:21that the figure
24:22of the bad guy
24:23winning
24:23had presidents
24:24historians
24:25and seeing
24:26that the media
24:27comic book
24:28suddenly
24:29had a product
24:30clearly
24:31not for an audience
24:31childish
24:32caused a scandal
24:33if by chance
24:34complaints
24:35seizures
24:36accusations
24:36of corruption
24:38of minor
24:38really
24:39obscenity
24:40Diabolic
24:40he was reported
24:42once
24:42because there was
24:43a woman
24:43in a bikini
24:44what he was doing
24:45the bathroom
24:45at sea
24:46I have always been
24:46asked
24:47if it were
24:47Truly
24:47for a content
24:49of violence
24:49which then doesn't
24:50it was so high
24:50if it weren't
24:51Instead
24:51than to respectability
24:53in this Italy
24:54of bacciapire
24:55of bigots
24:56which has remained as such
24:57it doesn't bother him
24:57see a couple
24:58in fact
24:59like Diabolic
24:59and on vacation
25:00outside
25:01of any law
25:02they are not related
25:03from a marriage
25:03but they are tied
25:04only
25:05from wanting
25:06be together
25:08the diabolical
25:09he has always been acquitted
25:10from this type
25:11of complaints
25:12the problem
25:12is that the kidnappings
25:13they wanted to say
25:13that the diabolical
25:14was withdrawn
25:14from all the alleys
25:15and then it came
25:16sent to the slaughter
25:17it was an economic loss
25:18very strong
25:18for the Giussani
25:26the diabolical
25:27it could only be born
25:28by two women
25:30independent
25:31strong
25:32transgressive
25:33with a political vision
25:35also to tell
25:36very strong
25:37how they were
25:37the Giussani sisters
25:38in the case of divorce
25:40I did it right
25:40the pages
25:41written
25:42vote like this
25:43instead what does he have
25:44he wonders if certain
25:45Political Views
25:46certain political stories
25:47of the devils
25:48are involuntary
25:48they are wrong
25:49totally free will
25:50diabolical
25:51has always reflected
25:52the problems
25:54of the moment
25:54when there was
25:55the story
25:55of the Basaglia law
25:56we did it
25:57some stories
25:58on mental hospitals
25:59I myself
25:59I made a story
26:00on euthanasia
26:01that I had
26:02such a success
26:03the unit
26:03he made me
26:04a full page
26:06that he said
26:06like a comic
26:08can say
26:08a smart thing
26:12and you believe me
26:13which was
26:13the importer
26:14official
26:15of the Jaguar
26:15And
26:17he distrusted
26:17the Giussane
26:18to call
26:18Jaguar
26:19the car
26:19by Diabolik
26:20because he thought
26:21that it was
26:22harmful
26:22for the image
26:23of its products
26:24the fact that a thief
26:25drove the cars
26:26that he was selling
26:26in context
26:27of forty years
26:28of the Jaguar E-Type
26:29in 2001
26:30the Jaguar
26:31he asked us
26:31to be able to reproduce
26:32of the image
26:33of the Jaguar
26:33in the volume
26:35dedicated to this
26:37celebration
26:37buffalo
26:47Today
26:4850 years later
26:49but for a while now
26:51Diabolik
26:52it is required
26:53for social campaigns
26:55for advertising campaigns
26:56Diabolik
26:57it's one
26:57how to say
26:59in step
27:00with the times
27:04it's so strong
27:05the character
27:06the graphic impact
27:07of the character
27:08that is successful
27:10Also
27:10in places
27:12Where
27:12the character
27:13Diabolik
27:13it's not in the slightest
27:14known
27:15there are some prints
27:16of art
27:16with Diabolik
27:17as a subject
27:18that you see
27:19very often
27:20in American TV series
27:22whether they are t-shirts
27:22that they are
27:23card games
27:25that they are
27:26statuette
27:26that they are
27:27the dagger
27:27by Diabolik
27:29works
27:29why Diabolik
27:30it is known to all
27:31even to those who don't read the comic
27:32Diabolik is a name
27:34like James Bond
27:35In short
27:35one can also
27:36not having seen the film
27:38but he knows
27:39who is James Bond
27:53the first comic
27:55that I bought
27:56alone
27:56It was Pecos Bill
27:57and then
27:59over time
27:59I passed by
28:00no to Superman
28:02to Nimbo Kid
28:03here I had a father
28:04who was very intelligent
28:05Why
28:06when I was little
28:07I
28:07a teacher at school
28:08if you like it
28:09that you were reading a comic
28:10I was thinking of you
28:10ah
28:10you read a comic
28:11Today I think that
28:12if you read a comic
28:13they tell you
28:14That's good
28:14that one reads something
28:15because otherwise
28:16you can't read anything anymore
28:17Diabolik is now going to become a hot topic
28:19a myth
28:20it's part of our culture
28:21in a manner
28:22unstoppable
28:23perhaps more important
28:24of many things
28:25that have been lost
28:29Diabolik
28:30the film
28:30if I'm not mistaken
28:31it's 67
28:32the director was Mario Obama
28:34my father
28:35I was the assistant
28:36I was a reader
28:37of the Diabolik comics
28:38and when my father
28:40he told me
28:40you know
28:41they proposed to me
28:42to make the film
28:43I was very happy
28:48it had begun
28:49with another production
28:50and Diabolik
28:52he did it
28:52to Jean Sorel
28:53they had started
28:55to turn
28:55a week or two
28:56they had finished
28:57the money
28:58De Laurentiis
28:59took the project
29:01he bought it
29:01he threw everything away
29:02he called my father
29:03and I remember
29:04that I
29:05at that time
29:05that I was already working
29:06with my father
29:07and I insisted
29:08because since there was
29:09De Laurentiis
29:10there was money
29:11for me Diabolik
29:12he was at the endelon
29:13and instead taken
29:14the Ostamerican
29:15excellent
29:16Jean-Philippe Lowe
29:17he was good-natured
29:19it wasn't with the eye
29:20that of accio
29:21a little mischievous
29:23era
29:23but it wasn't really
29:24Diabolik
29:25what we expected
29:26the movie was good
29:27but it's not
29:29the character Diabolik
29:30that it wasn't like that
29:31so respected
29:33and this thing to me
29:34I didn't like it
29:34why in Italy
29:36it was Diabolik
29:38it was Diabolik
29:39because he killed
29:40without
29:42he killed with stabs
29:43that were arriving
29:44and it was dry
29:45that was it
29:46what he had done
29:48luck
29:48by Diabolik
29:49Instead
29:49my father
29:51I agree with De Laurentiis
29:52I agree that the film
29:53it was supposed to be international
29:54this was a bit
29:56mitigated
29:57or
29:57Diabolik threw knives
29:59but the knives
30:00they came out of the machine wire
30:01off-screen
30:01but where were they going?
30:03maybe in a tree
30:04in a turkey
30:06it is not known
30:07because it couldn't be
30:08so ruthless
30:16the Giussani sisters
30:17when it's a movie
30:18they weren't like that
30:19satisfied with the film
30:20also because
30:21it was a little bit
30:22a revisited Diabolik
30:23and he was going towards
30:24of the canons
30:25that where they were
30:25an international product
30:27let's remember too
30:28the times
30:28as those times were
30:29there was an Italy
30:30much more
30:32hard
30:33bloodthirsty
30:34so it was a comic
30:35which was very popular
30:36out for a walk
30:37with what the times were
30:38In short
30:44my father never told me
30:45looked at what he read
30:46one reads what one likes
30:48and that was a bit
30:48at my house
30:49there was this thing
30:50my father who was
30:51thirty years ahead
30:52as a type of father
30:53in the morning
30:54sometimes
30:54he came to wake me up
30:56because maybe he had to go to work
30:57and then he said
30:57but jump into bed
30:58so and then
30:59what is he doing at school?
31:00that you don't learn anything
31:01I remember
31:02that once
31:02who came to speak
31:03with the professors
31:04I told him
31:05Dad, are you coming here anymore?
31:05because you have mitigated us
31:07with that
31:07and he said
31:08yes but that
31:08with that mentality
31:09True
31:10but he wasn't going to do it
31:11Indeed
31:12I usually managed it myself
31:13all by myself
31:25thank you all
31:26thank you all
31:28thank you all
31:30thank you all
31:31thank you all
31:32thank you all
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