In the last two years we have had for the first time in the Disney Chronicles of Greece the massive visit of leading Italian creators of the Neo-Italian school Disney, namely Giorgio Kavacano, Sylvia Jike and Paolo Motura! However, on 3-4 December 2016 we had the honour to host the only one in our country Fabio Cheloni, mostly known for his business in COMIX (The Epic Mickey [# 274], Dracula [# 295), New Adventures of Phantom Duck (Seed [# 9], I am Xandum [row of oligosolian stories], as well as in Mickey MouseOh, Donald, the big serials and more.
So, the maestro's on his couch.
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It is a great pleasure to be in Greece and I salute you all!
With regard to the disnew parodies of horror stories, was the connection of fairy tale to the dark element for you a natural development of your constant alternating engagement with stories of a different kind?
The Trilogy of Terror (Draculas) — Lo strano caso del Dottor Ratkyll e di Mister Hyde — Duckenstein di Mary Shelduck) is the result of 25 years of practice and evolution.
Although they seem very pioneering, that's actually how Disney tradition works. Terror has always existed as a aspect of Disney, as in old feature animated films, for example in «Snow White and Seven Dwarfs», «Cinderella» etc., for example with the evil witch.
I think that in fairy tales there cannot be separate the bright and dark aspects and, because this combination was made by Disney long ago, I thus give a new breath to this way of work that was forgotten in time. And with my involvement and Dylan Dog, with Bonelli, I managed to combine horror with Disney.
What is the biggest challenge when you have to adapt to a story addressed to children plots of horror and death scenes?
There are two kinds of problems in this, one concerning the tosenary and the other the plan. The script does not concern me, but in this case the screenwriter was Bruno Enna.
The screenwriter's bet was to translate the adult elements of the original project (blood, sex, horror) into «innocent» Disney world without losing its original meaning. And this is accomplished by various tricks, so it's implied that certain things are happening, but not presented in history.
And in the plan there was a difficulty, as it was something experimental, something that had never happened before, and on the other hand it had to remain faithful to the Disney contexts. That’s why I worked as in the expressionism cinema, with many shadows and shots from low, to achieve this result. So there was a risk it didn't look like a Disney comic.
From the moment a script reaches your hands to the point of visualization on paper what is the process you are following and how much can you contribute to changing the original script?
I do not interfere with character dialogues or time sequence, but if necessary I can change the direction of history, specifically the connection to individual frames, I give my own narrative to their sequence. Besides, in comic books there are two kinds of narrators: the screenwriter, who narrates in words, and the designer, who narrates in pictures.
So when I pick up the script, I do the drafts, the design, the melanoma and, finally, I go to the pension, which chooses the colorer and the letterer, while if we catch the deadlines it goes to be printed. And stories like Dracula and Duckenstein di Mary Shelduck It took six months to complete.
How does the desired effect come about to you and, in fact, so good under the pressure of work?
Don't forget it's business. I wake up very early in the morning and have a few free time (sometimes even for a walk). Still, my work is brainy and not automated, in every story I create, I'll find separate evidence to add to perfect it and I won't make it all standard. Finally, I always have to be focused, even when I have no inspiration. The combination of all this is what gives the result you see.
What about the rights of the story Lo strano caso del Dottor Ratkyll e di Mister Hyde ("The Strange Case of Dr. Ratkyll and Mr. Hyde")?
* Please note that this story, despite its popularity in Italy, has not yet been published in any other country since 2014!
My work ends at the point where I deliver my work to Disney for publication. The circulation of my stories both abroad and in my country is something I learn randomly.
How did you end up planning for Disney?
* It answers us through the narrative of the entire youth course in the comic book field.
I've been obsessed with the plan since I was a kid six years old, so I started planning. Since I was 8, I had decided to plan. «Mickey Mouse» And I told my mom.
Later, in High School I enrolled in comics school in Milan, while at 17 I made my first horror comic, which was terminated by censorship. Finally, I returned to «My old love»So I knocked on the Disney staff door. So, since I was 18, I've been planning for Disney.
Was there a time when you had to throw your job in the trash?
It happens sometimes. Actually, the right question would be: «Was there a time when you were satisfied with your work?» (tells us by sarcasming himself) Sometimes, in fact, I threw out bruised pages!
What's your favorite character?
THE Donald and ScroogeBut also the Mickey He's an incredible character!
His stories Barks They are insurmountable, they were a great inspiration to me. Papiman showed what Disney comics must be like. He is, no doubt, the most important storyteller of 20rod century.
Do you have a story-tellery about the future?
* Answers with humorous tone.
Yes, but I can't say more about it, because I'm going to put my life at risk!
What's your favorite story?
Dracula, because it took me too long to complete him and liked him in just as many people! Before this story, I had not created another story for a while and so the editor called me and told me to make a story, to which to add what I wanted!
Who's your favorite designer Disney?
Giorgio Kavacano, but I also admire Floyd Gottfredson, Romano Scarpa, Giovanni Batista Carpi if their symptoms are the same as yours. My design style, after all, is a combination of many influences.
Are you planning on combining Dylan Dog and Disney in the future?
Paolo Mottura has caught up with me (referring to history) The Dawn of the Portraits, COMIX 15 (Season II))
Which screenwriter do you work with better?
I'm sure Bruno Enna, but I have a good partnership with Bruno Enna. Tito Farachi and Fabio Mikellini.
To mention, too, that history Go home, Donald. (COMIX 166) is inspired by a foggy night when me and my friend and screenwriter Michelini were lost in the car and we couldn't go home. See, there were no GPSs back then. So we got the inspiration.
Is it harder for you to design Disney characters or your own?
First of all, the designer decides with what character he will go through what he wants. My people I use as I want, while in Disney there are rules that aren't written somewhere, but you find them. But sometimes it's easier to plan by rules than something completely yours.
Would you like to work with Paolo Motura again?
* For example, they had worked together in the design of history O Epic Mickey (COMIX 274)
Yeah, but we're both lazy. We have good relations, we have turned the world together and we have visited Greece.
Is there any chance you and Mickey and Donald are planning a story together?
I've done it with the story Lo strano caso del Dottor Ratkyll e di Mister Hyde and it will happen in my future story with Bruno Enna.
Did you expect such an impact in Greece?
The truth is, I didn't expect such a big audience in Greece. Creators work in a dressing room isolated from the outside world and it is very pleasant to learn that they read your stories people from other parts of the world.
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