Dansk
Svenska
Norsk
Suomi
English
Deutsch
Italiano
Español
Português
Français
Nederlands
中文
Indonesia
Polski
日本語
한국어
Čeština
Ελληνικά
Türkçe
عربي
Theo dõi chúng tôi
HQ
Videos
Tiền thân của Cyberpunk, Flesh Magister - Tanino Liberatore Comicon Phỏng vấn Napoli
"Fumetto Magister" và họa sĩ minh họa truyện tranh nổi tiếng đã được công nhận tại 25 Comicon ở Naples và ngồi xuống với Gamereactor để thảo luận về Rank Xerox (RanXerox), nghệ thuật cổ điển, Ý vs Pháp cho các nghệ sĩ, AI, v.v.
Phiên âm âm thanh
"Hi friends, I'm in Naples for the 25th Comicon and I'm honoured to be joined by Tanino.
Thank you so much for joining us. Congratulations on being the Magister for this edition.
How do you feel about the title you got at the Comicon?
Actually it's very fun to have this title because I'm affectionate of this convention and so I'm very happy to have this title this year."
"Alright, as a Magister, which would be the main advice, the main piece of advice you would give young artists gathered here at Comicon, soon to be artists or people who are learning, what would you teach them?
So being an artist is not really a job, but if there's something that I could wish to young generation of artists is to be passionate about what they are creating and to have the will to create, to don't lose the passion about their art."
"That's beautiful. What would RanXerox do in today's society?
He would probably do the same thing, like destroy the power, the people who have got power.
The society probably has changed in their behaviors, but the heart is still the same.
Speaking about RanXerox, do you feel like a precursor of the cyberpunk genre?
It is very popular nowadays and perhaps you were there before your time?
Actually, when we created it, we did it as a game."
"Actually, we had fun in creating it and also because we lived the violence we recreated in the comic, so it wasn't really hard to imagine.
So probably, yes, it could be considered as a pioneer of the genre.
What can you tell me about your technique?
You, of course, went from analog and traditional to digital, so what can you tell me about the evolution of your drawing technique through the years?
Let's say it was the discovery of a new technique, a new method."
"So, actually, digital is only a device in addition to the analogue, 'cause I'm still the artist, so the digital device could only give me some more techniques that the analogue couldn't, but I'm still the creator of this.
Speaking about that, it is said that flesh or skin is at the center of your themes."
"How do you relate to this representation of flesh?
Is that true, that you feel that is something central to your work?
Actually, it is true that the body, the flesh is at the center of my work, but it wasn't something conscious, it wasn't a choice from the beginning."
"It's just after when other critics, other people read my works, told me, observed this.
So actually, it's true, and probably it's because I was influenced by the culture and the art of the past centuries, like Michelangelo's works, but also Caravaggio and Leonardo, because the body is only a way to express the emotions, as I do in my works."
"Mainly, of course, it was Michelangelo that inspired me, because Caravaggio gave me more about the subject, the characters, the theme.
The subject, yeah, the theme.
At least the blue paint isn't as expensive as it was for Michelangelo when he was painting the chapel."
"Actually, yes, it's when I saw a very young documentary about Michelangelo, and they show the sketches of his work that I ran to draw myself, inspired by those images, but also the sculptures.
Of course, he was a sculptor before painting.
You've also worked with cinema, with movies, as a production designer, art director, dress designer."
"So how would you say your drawings permeate what you do in movies, and the other way around, vice versa?
What did you bring to your drawings from cinema?
I don't know if my drawings have influenced cinema.
Cinema has influenced me, but not directly."
"So, actually, I don't know if my drawings have influenced cinema.
If cinema has influenced my work, it was really unconcious, it didn't influence me directly But probably, unconciously, the movies I saw in the past could influence a little bit, But now I watch more television."
"Actually, it was very natural for me, instinctively, according to the story I had to tell.
Because at the beginning, in the past, I didn't really know the movie language.
I learned it, and now either.
But really, what influenced me was the story I was telling."
"And my choices in the movie sector were more told by the story I needed to tell.
Alright, and speaking about comparisons, let's compare France versus Italy.
You're living in France for many years.
As an artist, which would you say are the main differences, working and sharing your works in the two countries?
Actually, at the beginning, when I moved to France, of course, the French comic market was the biggest one."
"It was very active, in comparison with the Italian one.
But nowadays, today, probably Italy has caught up a little bit.
Also because now in France, the market of comics has become very institutionalised.
Whereas in Italy, we still have some big publications, some good events, very rich in the publishing sector."
"So probably that's the main difference nowadays.
So actually, in comparison with France, that has as a main field the Franco-Belgian tradition about comics, in Italy, the artists are still freer to publish and to create.
As for example, Zerocalcare became very famous thanks to the Internet, too."
"And by himself, he didn't have someone behind as he could be in France nowadays, where the institution, the group, is still very important.
We are a little bit more free, a little bit more dissociated from the genres.
Alright, closing one. You've mentioned the Internet, we've been talking about digital tools.
And this is a question, it's a recurrent question I'm asking many artists here gathered at Comicon."
"It's the elephant in the room. Are you acquainted with AI? Do you think that could be a tool to help artists or a threat?
I'm very curious as an artist. I don't accept the fact that I probably will try, but it's different from passing from the analog to the digital, because I'm still the artist in that case.
Whereas with the AI, I'm not really sure. I give the orders, but I don't know what moves the intelligence to create."
"So I'm a little bit afraid, but I know that it's the future, so we will see.
Actually, I'm from a generation where there was nothing, and then there was everything.
So I feel a little bit like a dinosaur, because I lived all these changes, but I don't know how it's going to be, so I don't know how to use them.
I think you mentioned before [in Italian] that the pleasure is removed."
"So anyway, thank you so much for your time. Again, congratulations on your Magister title and your dinosaur title and everything.
Thank you so much, grazie mille."
Phỏng vấn
Thêm
Video
Thêm
Đoạn giới thiệu phim
Thêm
Đoạn giới thiệu
Thêm
Sự kiện
Thêm