- 1 giorno fa
#DylanDog, l'indagatore dell'incubo, segna uno spartiacque nella storia del fumetto italiano: per ciò che racconta e per come lo racconta. La storia di un fumetto che ha segnato una intera generazione tra gli anni ottanta e novanta, con successi di vendita mai eguagliati, grazie al genio del suo creatore, Tiziano Sclavi, e alla audacia di una casa editrice, la Sergio Bonelli Editore, che decide di sposarne in pieno un progetto tanto nuovo, allora, quanto ignoto. Intervengono: Mauro Marcheselli, Michele Masiero, Giovanni Gualdoni, Graziano Frediani, Roberto Recchioni, Pasquale Ruju, Paola Barbato, Claudio Villa, Angelo Stano, Giapiero Casertano, Stefano Marzorati, Guido Tognetti
#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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TVTrascrizione
00:14Thank you all
00:37When you read a Dylan Dog story you are Dylan Dog
00:41Dylan is a character distant from his father
00:43Tiziano doesn't write it anymore, he hasn't written it for a long time
00:46he is a character who feels the absence of Tiziano more than any other
00:50why Tiziano Sclavi was Dylan Dog
00:53I tell you that if Sclavi wrote he would be much much happier
00:56I would never have imagined this success nor such a long, almost infinite life, electoral existence
01:10Dylan is a young brass, lucky him, handsome, that women like, tall and thin
01:15he is around 32-33 years old
01:18he is vegetarian
01:19lives and works in an imaginary London
01:29Lives in Craven Road
01:31which is a tribute to the director and screenwriter Wes Craven
01:34the creator of the Nightmare series
01:37his face is inspired by the actor Rupert Everett
01:42it's an assistant who is Groucho, who is the double of Groucho Marx
01:46He has a very particular job which is that of a nightmare investigator.
01:52so a former policeman, a former Arcolizzato
01:55with an experience, various traumatic experiences behind him
01:58this particular profession is invented
02:00Dylan is supposedly a private investigator
02:03specializing in cases that other private investigators won't take because they involve the paranormal
02:13What does Dylan Dog do? He does the opposite of a psychoanalyst.
02:17the client tells him his nightmares and his story
02:20and Dylan Dog takes on the client's nightmares
02:24so it's kind of a collector of everyone's nightmares
02:27Dylan is a skeptic
02:29despite everything he has seen in his life they remain chosen
02:32there are so many things that scare Dylan
02:35and even though I'm afraid of the challenges
02:38then there's this fifth and a half sense of his
02:40he says it's not a real sixth sense
02:43but it's something that gives him a little insight into things
02:46and the fifth and a half sense is also the one that in my opinion puts him in contact with this type of
02:49stories
02:50that is, he is not the only one who solves the cases
02:52but somehow the cases get attracted
02:54from him, they fall a little on him
03:01he has his own bedroom like a teenager
03:05where he has his vessel that will never end
03:09he plays the clarinet
03:12he can play nothing better than the devil's trill
03:14I played badly
03:15yet he doesn't take a clarinet lesson
03:18nor does he put the clarinet away forever
03:28Dylan is very complex
03:31and since it is complex it has no absolute advantages and absolute disadvantages
03:35if there is a phobia he is afraid of the dark
03:38he is afraid of closed spaces
03:40he is afraid of open spaces
03:42he is definitely a romantic
03:44a romantic but sturmugrango-like one
03:47an old-fashioned romantic
03:48it's a tormented romanticism
03:54Dylan Dog is insecure
03:56his world is constantly in the balance
03:59there is a character who is a bit borderline
04:00Dylan Dog is a depressed person
04:01his strength was precisely this
04:04alternating depression and euphoria
04:07there's a quiet anger that occasionally comes out in Dylan
04:12Dylan Dog knows how hard it is to live in this world
04:17but above all how hard it is to live
04:19this awareness of how much it costs
04:22to be able to believe something or to get through the night
04:25before falling asleep if you can sleep
04:27It is linked to the great personality of its creator Tiziano Sclavi
04:33apart from Tiziano Sclavi I have never met anyone
04:37that he looked like Dylan Dog
04:39Dylan is the projection as Tiziano would like to be
04:43there is a good disease of the author
04:47which somehow intervenes in the definition of the character
04:53Tiziano as I met him
04:55I have to say that I have seen a lot of things of the character himself
04:59lots of funny things and also lots of scary things
05:02so many dramatic things
05:04It's no coincidence that Dylan Dog had a white Beetle
05:09with a black roof
05:10coincidentally Tiziano also had a car like that
05:12seeing Dylan Dog dressed in a red cap
05:16black jacket, shoes with red laces
05:17I wasn't surprised by anything
05:19Sclavi was dressed like this
05:21It was a period in his life when he loved
05:23shirts worn outside the trousers, among other things
05:26this is why we often see Dylan Dog with his shirt untucked
05:28Clarks with strictly red laces
05:32it was just his clothes
05:34We can see every little fear of ours amplified in Dylan Dog
05:38and then we can meet again
05:40he is said to be an anti-hero because in fact
05:42he has none of those certainties
05:44which instead move the granite heroes of mythology
06:00the publishing house was quite small at the time
06:03produced few warheads compared to it
06:06and it was natural to ask Sclavi
06:10who was then the editor of the publishing house
06:13to propose his own project
06:15and he proposed this supernatural horror
06:18we had to look for a face for a new character for the publishing house
06:22a leap into the dark for Bonelli
06:24because it was a horror comic
06:26a topic that Bonelli had never touched upon
06:28the character was initially supposed to be set in New York
06:31have a slightly different shoulder
06:34the discussions with Bonelli and Canzio
06:37in the end they turned New York into London
06:40a more anonymous shoulder in Graucio
06:44paradoxically they had described the whole character to me
06:46I had made these sketches unaware that he was English
06:51they forgot to tell me he was an English character
06:54in fact I had made a very Spanish-style Dylan Dog
06:56in a large, recognizable area
06:58when Sclavi saw my first sketches
07:01he told me no, let's cut to the chase
07:02Dylan Dog must look like Rupert Teneret
07:05Tiziano Sclavi tells Claudio Villa to go to the cinema
07:09and copying Rupert Teneret in the film Another Country
07:13I slipped into this cinema
07:15where they were showing this film and I started to do some sketches there
07:18a bony, dry face emerged
07:23This series of identikits was then the basis for the work of all of us designers
07:29I followed Dylan Dog's entire birth precisely because at the time with Tiziano
07:35we shared many passions
07:39he recognized that I had a certain knowledge of designers
07:42so I proposed to Tiziano a series of designers to try on the magazine
08:04on the first of Landau already the drawings of Angelo Stano
08:07they were something that went far beyond the Bonebbia tradition
08:12when I read the script I said
08:14well, here we are faced with something new
08:17the cut was original, very cinematic
08:21Dylan was a bit of a link
08:23that is, it was a popular comic conceived and written as an author's comic
08:30Dylan's first episode
08:31it even has some cartoons that told a scene
08:34exactly as Carpent shot it
08:37shots from above
08:39absolutely improbable verticals
08:41the first 10-15 pages of the script
08:43drawn by Stano, written by Tiziano
08:45for the first issue of Dylan Dog there were, there is magic
08:48the cinematic reference was very important
08:51and from the directorial point of view
08:54a gloomy atmosphere
08:55the cutting of the shots with the strong use of perspective
09:01this was one of Sclavi's suggestions
09:04somehow I saw my Dylan Dog on the cover
09:08it was much more naive than Stano's
09:10which was much more sophisticated, an extraordinary technique
09:13the dry brush used to make these grays
09:16which made the press more valuable
09:19because they added an extra value to the simple black and white
09:23I tried to use the nuances more than anything to characterize the characters' mood.
09:29the thing that mattered to me most was an active participation in the psychology of the characters
09:37for the first cover the most classic scene was that of the zombies bouncing up from the ground
09:43which made one foresee much more intense things that would happen in the other
09:48the name Dylan Dog is a classic name that Tiziano Sclavi gave to all his projects
09:56they were always working names that were always changed in the end
09:59this was also the case with Dylan Dog, which instead remained the same
10:05I designed the head, I actually did the roughing of the head
10:09I took inspiration from some American horror comics from the 40s and 50s
10:16in fact you can see that it is the American letters that are pointed in a certain way
10:21I realized I was waiting for the release of Dylan Dog and it's good curiosity
10:24I lived it while it was being born, I didn't know what it would become
10:28because you never know what your child will become
10:30a few days after Dylan Dog was on newsstands the distributor called the editorial staff
10:35saying that the character was dead on the newsstand, that is, that no one was buying it
10:38when the first issue came out the newsagent was actually reading Dylan Dog
10:44the day it came out, September 26, 1986, at a newsstand in Bologna
10:49In the morning I was there to buy the first issue
10:52it seems really peculiar, something alien
10:55it overwhelmed me
10:56a week later the distributor calls saying that it is an incredible success
11:00which must be reprinted immediately
11:06Groucho is an enigma
11:08he's not just a comic relief
11:10its fundamental aim was to lighten up stories that are
11:13it would have been much more of a couple
11:14Groucho actually made it Tano on paper
11:21I took care of the first shoulder instead
11:23of Dylan Dog who was supposed to be Marty Feldman
11:26to Igor of the Film, to Frank Stein Jr.
11:28the preparatory studies that had been made of this character
11:31they hadn't convinced the publisher
11:33and then we went back to the initial idea of giving him the face of Groucho Marx
11:42he is a Groucho Marx lookalike
11:46which is expressed through jokes, more blue puns
11:51and his jokes must always be placed in the context of the dialogue
11:56there's a lot of difficulty in Groucho, almost more in Groucho than in Dylan
11:59his vision of the world is a very caustic vision
12:02very critical, even more critical than Dylan's
12:05for me he is nobody, he is not some sort of demon that haunts Dylan Dog's life
12:11we do not know of any stable relationships with women
12:14he has no friends other than his boss
12:21he lives by being someone else's double
12:23Personally, I find him a terrifying character.
12:27but there could be anyone, we think about it
12:29It could have any kind of story, even the bloodiest one
12:33for me Groucho is a monster
12:34Sabaras should be Dylan Dog's greatest antagonist
12:38who later turns out to also be Dylan Dog's father
12:41It's a part of Dylan, at the same time it's the Nemesis
12:44and clearly it's the part of Dylan Dog's evil father
12:56Morgana was meant to resemble Giuri Cristi in Tiziano Sclavi's intentions
13:00and I did some tests, but I couldn't come up with a face that was credible enough
13:05on the graphic level
13:06so I looked for a more Mediterranean character
13:09and I think this then convinced Sclavi himself
13:14to provide this character with a closer kinship
13:19Morgana was not only the quintessential woman
13:22but she is Dylan Dog's mother
13:24Dylan's relationship with women is such a stereotypical relationship
13:27so he falls in love with every woman he meets every month
13:30it has become so stereotyped that it is one of the aspects on which
13:34it's more fun to play
13:36and on which they show us the darker sides of Dylan
13:39because all in all he is the good boy of the Italian format
13:42yet he had hundreds of women and forgot almost all of them
13:46he actually lives truly sincere loves
13:49so much so that he never leaves these women
13:51but they are the ones who leave it for reasons that are always unknown to us
13:55because they happen between one episode and another
13:59a central figure is that of Block
14:01the police inspector who was Dylan Dog's superior
14:05when he was in the police
14:06and who has remained the friend of always
14:09I drew it taking Robert Morley's face as inspiration
14:15he's the friend who's a little skeptical
14:17he is the first to go and ask Dylan Dog for help
14:19when there is a need for something that he can't understand
14:22because it is beyond what he experiences on a daily basis as a police commissioner
14:30I found Tiziano Sclavi extraordinary
14:33because unlike many of his colleagues
14:35he is someone who reasons starting from the image
14:37he asked me a question that I usually never get asked
14:39What do you like to draw?
14:41and I said but look
14:42I like designing costumes
14:45period costumes
14:46walking back down the street I thought
14:48I made a big blunder
14:51what does it have to do with it?
14:53the historical costume
14:55with modern Dylan Dog
14:56nowadays, gold
14:58A few days later I received a package at home
15:00there were the first Dylan Dog tables
15:02number 10 through the looking glass
15:04on the front pages
15:06a magnificent costume party was taking place
15:09and Titian wrote
15:11have fun
15:23all the authors who collaborated on this series
15:27they tried to personalize it as much as possible
15:32the interpretation of the character
15:35seven designers with the same model in front
15:38they make you seven different Dylan Dogs
15:41but the reader instead of being annoyed
15:45he was surprised and appreciated
15:47some praised me
15:48others reproached me for the fact that I, for example
15:51who knows why
15:52I had seen in Dylan Dog's nose
15:54a slightly aquiline nose
15:55that's what differentiates him from all the other Dylan Dog noses
15:58who knows what I saw inside
16:00there was also someone who said
16:02but from the cover
16:04you see a Dylan Dog with blue eyes
16:07but in the other brown
16:08and why?
16:10and then Marcheselli wrote
16:12he said well Dylan Dog sometimes has blue eyes
16:14sometimes brown eyes
16:16It was a convenient answer but it worked
16:18the techniques I use
16:20also that I'm a kind of dinosaur
16:23also from Lugliano
16:23I still use paper
16:25many of my colleagues use graphics tablets
16:28I still use a pen and brush
16:30sheets mounted on cardboard for covers
16:44drawing comics is different from making covers
16:46why you have to focus on one image on the cover
16:50all that is the expectation that the reader should have
16:53for the story you will find inside
16:56the first 41 are gone
16:57then Dylan Dog lived his own life
16:59then Stano arrived to replace me
17:01and closed the circle
17:03of the beauty of the design
17:05which characterizes all the authors of Dylan Dog
17:08a cover that was very successful
17:10it was a cover of nobody's history
17:13where you can see a Dylan Dog
17:14on a white background
17:16and zombie arms
17:18that come out of this absolute void
17:21you also have to work according to the colors
17:24because the cover also uses this addition of language
17:26even the colors speak
17:27when did Dylan Dog come out all the comics
17:29the bonelli had flat colors
17:31paternal color, fixed, the trousers are blue
17:34I'm blue from start to finish
17:35and you instead I tried to put the highlights there
17:38that is, to also show the brightness effect
17:41in volume
17:43I knew it was my risk
17:45a kind of game of mine
17:46while the printer has taken a liking to it
17:49and used an extra film
17:52transparent
17:52on which he hand
17:53he put a covering liquid
17:55so that it overlaps the others
17:57in print
17:59that liquid would have covered the color
18:01enough to give it a nuance
18:02which today can be easily obtained with the computer
18:05but then he had a hard time
18:07and it was also something of passion
18:23I believe that Memory of the Invisible
18:24it is the most beautiful story of the whole series
18:26a story of a poem of a touch
18:30we talk about this love with a prostitute
18:33this Brie Daniels
18:34this prostitute that Dylan Dog later falls in love with
18:38and this impossible love is reciprocated
18:41where the real protagonist
18:42it is never seen throughout the entire episode
18:44because he is an invisible man
18:46simply because he is a person
18:48that everyone ignores
18:49an ordinary person
18:51as there are millions of others
18:52it's the best album
18:53that in my opinion Titian ever wrote
18:55in terms of screenplay
18:56It's a pleasure to read the script
18:58of Memory of the Invisible
18:59as well as its full version
19:01when there is a good script
19:04a beautiful story
19:04it's more likely that there is a nice design
19:07that is, the two things complement each other
19:10when I had to put the test
19:12a screenwriter
19:14preferably when I wanted to change
19:15the job of a screenwriter
19:17I gave the script of Memory of the Invisible
19:19here here
19:20this is how Landog is scripted
19:22and many in fact
19:24they realized
19:25than to write a comic book
19:28in particular of Landog
19:29it's not very easy
19:38I had to confront myself
19:40with a language
19:41which was very rich in references
19:43which ranged from art
19:48to literature
19:49at the beginning there was also a game of quotes
19:50in the early Dylan
19:51so there were just scenes
19:53taken from a horror movie
19:55of the time
19:55and then he reinterpreted
19:57Titian made an art out of this.
19:58Tiziano has always been an extremely eclectic soul
20:02what we are trying to do now
20:04it's having a lot of screenwriters
20:06each of which
20:07try a different route
20:10in order to have such a variety
20:12which somewhat replicates the one Titian had
20:15there was an Italian horror film
20:17Mattie Sovari
20:17which came out when I wasn't even 14 yet
20:20I've never seen it
20:21but this thing remained
20:24of the poster of this film
20:26and so I wrote a story
20:28thinking about how
20:29I would have written
20:30Mattie Sollari
20:31if I had to write it
20:32that movie
20:33thinking about that poster there
20:34the first issue of Dylan Dog
20:35I wrote the number 218
20:37it's called The Painted Nightmare
20:39the real stimulus was
20:40the house of the laughing windows
20:43by Pupiavati
20:44on the film set
20:45in the lower Po Valley
20:46that I had seen as a kid
20:48and that had scared me
20:49in issue 25 of Dylan Dog
20:51where it first appeared
20:53Morgana
20:54there was a character who was
20:55the comic book artist
20:57which curiously was precisely
20:59the author of the album
21:01that the reader was reading
21:02then Tiziano Sclavi
21:04he asked me
21:05if I wanted
21:07to portray myself
21:09dear Tiziano
21:10he made me
21:11he did some to me
21:11of crops of raw
21:12he forced me to
21:14kissing an old woman
21:16blenny
21:16and Dylan Dog
21:17he shoots me
21:18in the mouth
21:19Mauro Marcheselli
21:21it wasn't just
21:22the curator of Dylan Dog
21:24after Tiziano Sclavi
21:25but it was also
21:27the scriptwriter
21:28of some of the stories
21:29more touching
21:31Dylan Dog
21:31including
21:32Johnny Freak
21:33and long goodbye
21:34a genesis
21:35for Johnny Freak
21:38there could be
21:39but they also
21:39an article
21:40on a newspaper
21:40who spoke
21:41of something that happened
21:43in Brazil
21:43where there were
21:44of the children
21:44that came
21:45used as parts
21:46spare part
21:47for other people
21:48you could see this character
21:51without legs
21:51In short
21:52who had
21:53it was very touching
21:55beyond
21:55of his
21:56monstrosity
21:57a character
21:58in those mutilations
22:00it is certainly born
22:01from the vision
22:03by Freak
22:05by Todd Browning
22:13Tiziano Asclavi
22:14he told
22:15That
22:15writing certain endings
22:17he was moved
22:18such as
22:19When
22:19he was deciding
22:20destiny
22:21of Johnny Freak
22:22when he killed
22:23Johnny Freak
22:23he was crying
22:24because now
22:25had become
22:27almost a real character
22:28he says
22:29I was crying
22:29while I was writing
22:30on the keyboard
22:31I was saying
22:32ninth
22:32you don't have to die
22:33and then he the author
22:35he would have decided
22:35that it was right like this
22:37Long to God
22:38instead it is born
22:39from mine
22:40great reading
22:41of photojournalisms
22:42the basic idea
22:43it was that
22:44of him who comes
22:45recalled
22:46from this girl
22:47who was with him
22:48that he never had it
22:49forgotten
22:50and that it's time
22:51in which he decides
22:51to take one's own life
22:53to be accompanied
22:55on this last journey
22:56from Dylan
22:56retraces with Dylan
22:58throughout his life
22:59and in the end
23:00it's understood
23:00that this journey
23:01that we have seen
23:02and we don't know
23:03what is it
23:04they are the moments
23:05that she sees
23:06in the moment
23:06in which he decides
23:07on giving in
23:25Dylan Dog
23:26he captured
23:27Surely
23:28in that historical period
23:29which is the end
23:30of the 80s
23:31at the start
23:31of the 90s
23:32the stimuli
23:33probably
23:34of an entire generation
23:35the needs
23:36who intercepted
23:37Dylan Dog
23:38they are the same
23:39that the characters
23:40played by James Dean
23:41they had intercepted
23:43in the post-war period
23:44Bonelli had
23:45this great curiosity
23:46towards
23:47of a new audience
23:48that was that
23:49by Dylan Dog
23:49and then
23:50we inevitably think
23:52to organize
23:53a review
23:53made of old people
23:54and new films
23:55and let's set up
23:56a Dylan Dog
23:57which lasted
23:57an exaggeration
23:59three weeks
24:00exhausting
24:00the hall
24:01that was small
24:02he couldn't do it
24:03I couldn't contain it
24:04the entire audience
24:05which was enjoyed
24:06our surprise
24:07and that of Bonelli
24:07it was very big
24:08Bonelli was afraid
24:10by Dylan Dog
24:10in a certain sense
24:11the topics covered
24:12they were not
24:14tranquilizers
24:14for Sergio
24:15huge success
24:16by Dylan Dog
24:16Sergio
24:18he lived it enough
24:19with fear
24:20holding
24:21we could be accused
24:23as it happened
24:23in the past
24:24to mislead
24:25the new generations
24:26they were
24:27really
24:27parliamentary questions
24:29linked to the phenomenon
24:31of violence
24:32in comics
24:33and a censorious intent
24:35that every now and then
24:36peeps out
24:37Dylan Dog
24:38it was used
24:38in a countryside
24:39against drugs
24:40against abuse
24:41of alcohol
24:42to help
24:43to disabled people
24:44every time
24:45that is asked of us
24:46an intervention
24:47in this type
24:47we are always
24:49in favor
24:50many have discovered
24:53even just
24:54Greenpeace
24:54why Dylan
24:56he ran a campaign
24:57to save the whales
25:04Mauro Marcheselli
25:05at the time still
25:06Dylan's curator
25:07he wanted a story
25:08on the disease
25:09so he said
25:10alright
25:10we have a screenwriter
25:11who is always sick
25:12let's call the chi
25:13the serosclavi
25:14he was suffering
25:14he put himself
25:16he put into play
25:16themselves
25:17exposing himself a lot
25:18in Dylan's stories
25:19in the case of Mater Morbi
25:20I tried to do it
25:21so I took
25:23my personal experience
25:24I poured it out
25:25in the character
25:27and trying to respect it
25:28as much as possible
25:30I
25:30but thanks also
25:31with the help of drawings
25:32by Massimo Carnevale
25:34we told
25:35my experiences
25:36health care
25:38filtered
25:39through Dylan
25:39he came out of it
25:41an album
25:42That
25:43had the ability
25:45to touch
25:45many people
25:46that have been bad
25:47or have had people
25:48that have been bad
25:50who like me
25:50they experienced the same things
25:52the letter that reached us
25:53it was from a reader
25:54that the father had
25:55at the end of his life
25:56in a coma
25:56in the hospital
25:57the story was telling precisely
25:59by Dylan
25:59in a coma
26:00in the hospital
26:01who was being tortured
26:02from this Mater Morbi
26:04and the reader
26:05unfortunately she was very critical
26:07touched on the topic
26:07of euthanasia
26:08a journalist
26:10he noticed
26:10of this thing
26:11he wrote a piece about it
26:12it resulted from it
26:13a debate
26:13a counter debate
26:15the news
26:15she reported herself
26:16on the Corriere
26:16in various other newspapers
26:18and one more thing
26:19who made history
26:20is that they did
26:21Dylan's stories
26:22of the past
26:23has aroused
26:25uproar
26:25out
26:26from the scope
26:27of the comic
26:27which was that
26:29one of the peculiarities
26:30by Dylan
26:30which has always had
26:31touch the social
26:32and then
26:33get to talk
26:34to everyone
26:34and to provoke reactions
26:36in history
26:37heavy topics are touched upon
26:38as a matter of fact
26:39the right to life
26:40euthanasia
26:41the dignity of the patient
26:43the story
26:44does not take a precise position
26:46the fact is that he created
26:48it has generated discussion
26:49which in my opinion
26:50it's the best thing
26:50what can happen
26:52with a comic story
27:01the passion for comics
27:03it is definitely
27:04above all
27:06in past years
27:07it was something
27:09of important
27:10for me
27:10but clearly
27:11also for
27:12a character
27:12like Claudio Baglioni
27:13Dylan Dog himself
27:14he entered
27:16within
27:17of a song
27:17by Claudio Baglioni
27:19what is called
27:19The world of women
27:20it was a period
27:21in which
27:22Claudio
27:23and his son Giovanni
27:25they had become very fond of each other
27:26to the character
27:27by Dylan Dog
27:28when I went to dinner
27:29at their home
27:30John asked me
27:31to tell him
27:32some stories
27:33that could not be
27:34some stories
27:36normal
27:36and I clearly
27:37I was trying to steal
27:39the scripts themselves
27:40of some comics
27:43by Dylan Dog
27:43that then I went
27:44clearly
27:45to repaint
27:46to invent
27:47to lengthen
27:50the collaboration
27:51with Claudio Villa
27:53she was born
27:53in a way
27:54very particular
27:55he was
27:56partner
27:57of the association
27:58cultural
27:59by Claudio Baglioni
28:00which is called Club
28:01and then
28:01I proposed it myself
28:02to Claudio Villa
28:04and to Claudio Baglioni
28:05the idea of taking
28:06a song
28:06by Claudio
28:07which was
28:08The streets of colors
28:09and have it illustrated
28:10to Claudio Villa
28:12The streets of colors
28:12it's already a song
28:13fantastic
28:15so he had
28:16this text
28:16that was unfolding
28:17in this series
28:19of stories
28:19that they could go
28:21to represent
28:22and invent
28:23above all
28:23a screenplay
28:24that he had
28:25a theme
28:26fantastic
28:27as it was fantastic
28:28the song
28:29of the streets of colors
28:35I remember that
28:36with Claudio Baglioni
28:39we went to Milan
28:41in the Bonelli Palace
28:42to meet
28:43the author
28:44by Dylan Dog
28:45which was
28:45Tiziano Sclavi
28:47I have to say that
28:48we were
28:48quite excited
28:50we were entering
28:51in an imaginary dream
28:53and we were going back
28:54both
28:54like two kids
28:56and then there was
28:56this big one
28:57emotion
28:58because anyway
28:59they were getting closer
29:00two legends
29:02Claudio Baglioni
29:02the story
29:03of Italian music
29:04and Tiziano Sclavi
29:06the one who created
29:07a character
29:08which certainly has
29:09made history
29:10in Italian comics
29:11and not only
29:12Claudio Villa
29:12when he made
29:14a table
29:15he sent us
29:16the drafts
29:17the project
29:18to be able to understand
29:19if it was on the
29:20right line
29:21if it was on the project
29:23the exit was
29:24in this newspaper
29:25which was called
29:26All
29:26and so it was necessary
29:28realize
29:29in this cover
29:29with Baglioni
29:31and Dylan Dog
29:32and I remember
29:32in a very funny way
29:34that I was
29:35in a photographic studio
29:36and at a certain point
29:37the photographer
29:37he told me
29:38you who are tall
29:39almost like Claudio
29:40lean on
29:41to Claudio
29:42why you at this moment
29:43you have to do exactly
29:44the figure
29:45by Dylan Dog
29:46from which then
29:47we will go
29:47to build
29:49the character
29:50and I remember that
29:50did not escape
29:52this Polaroid
29:53Extremely beautiful
29:54that I still keep
29:55where I am
29:56very young
29:56with Claudio
29:57clearly
29:58where I was
29:58Dylan Dog
29:59at that moment
30:00it was a thing
30:01very nice
30:04the person
30:06the person
30:16he knows
30:18the person
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