30.8.16

ÁLVARO DE MOYA, THE INTERVIEW IN ENGLISH

A Warning To Friends of "Chutinosaco's Blog": This interview is ready to post since 28 January 2016.
It is that I contacted and also expect the participation of Francisco Ucha - the journalist who is a old friend of Moya - that could add more information important about our beloved artist.
Unfortunately, after several contacts and months of waiting - Ucha could not send your answers - and so I opted to offer as few now friends who follow us - with a quick, but good-natured interview! 
Imagine that you are face to face with a Brazilian myth of Comics, Radio, TV and Cinema ... and that human genius besides being a professional and extremely competent man successful in all your endeavors, still proves to be humble and generous ? 
Surely this define a truly multimedia person! 
Now you know a little of the work of Alvaro de Moya, another: "Disney Masters of All Times" - an incredible chat!

28/01/2016

"Dear Luiz.
Sorry I'm late to answer your questions, but I ended up confusing me with emails.
The answers are below. I hope you enjoy. A happy 2016 to you too. 
A hug, Alvaro de Moya "


1) Since you hastily flipping through album pages of "Flash Gordon Comics" -
belonging to his brother: it was, and when he began his career? And what are your memories of when he met the author: Walter George Durst, when you participated in the opening of the Tupi TV? (The first TV station in Brazil) 



A: In the "Santana" neighborhood - north of Sao Paulo, Brazil - had party every Sunday - naive dances parties,  to the sound of Glenn Miller and Tommy Dorsey Orchestra.
In one of them, a young man named Pedro approached me and said he heard that I drew well and that his brother was a professional and gave me his address: "Duarte Azevedo Street".
It was João Gitay who liked my pencil drawing and taught me to use ink with brush "Winsor Newton."
We read a lot to know how to write comics and going in "Cinelandia"
watching movies. 



***ATTENTION:
 
The "Cinelandia" that Alvaro de Moya said was in the center of São Paulo, in 1950 years and consisted of seven theaters arranged in the region, which were: "Paisandu", "Metropolis", "Ipiranga", "Comodoro", "Arouche", "Las Vegas" and "Copan".
Today, there is no more "Cinelandia", unfortunately.



We followed on "Tupi Radio", the film critic Walter George Durst, who, in one of the programs, talked about comics: Al Capp and Alex Raymond. 
I went to the radio station and invited him to meet a comic book studio.
We waited for him sitting on the sidewalk. He didn't come. 
We decided to go visit him in the "Radio City", but João (Gitay) would not go. He was very reserved.
We relate to the radio staff, who would be the "Tupi TV's Gang".
W. G Durst recommended me to draw show signs of opening of the fourth world Television.
The first was the American NBC TV; the second, the BBC TV London; the third, TV CMQ - Cuba.
In Brazil, the date was: September 18, 1950.



2) Cartoonist, Journalist, Writer, Teacher, Producer and Movies Director
and TV - you are certainly the first example of multimedia person, as we know it today.
Now tell us how you met: Jayme, Syllas, Reinaldo and Miguel, its partners in the "First World Exhibition of Comics" in 1951?



A: The group of friends of João Gitay, included Syllas Roberg, a banking
that wrote very well and knew a lot of literature. 
The three of us we followed the newspaper: "Gazeta Juvenil" and suggested to Syllas a western script and João illustrated a page, but wouldn't go to the publisher. 
Messias de Mello, the cartoonist chief, liked the drawning, but didn't accept collaboration. 
When we were leaving, disappointed with the great color page in hands, Jayme Cortez asked to see the drawing and invited us to go to his house n Hipódromo Street in the "Moóca" neighboorhood (Sao Paulo) on Saturday afternoon. And in the other Saturdays.
In this house, eating chips made by Dona Edna, Jayme's wife, we met a graphic worker who drew very well and was sponsored by Cortez, Miguel Penteado. 
The same as I had proposed Gitay, suggested to Cortez make the cover of a magazine called: "Terror Negro - The Black Terror," whose number in the stalls had a distant art drawing comics.]
He made a sensational cover that "jumped" on book stores with the style transform it in one of the "big" of the Brazilian horror comics.
We were in the "Vila Mariana" neighborhood, in Pedro de Toledo Street - a house with red stones on the wall, in a side entrance down there, where there was a garage which was: "La Selva Publishing".
A garage back corner, a boy was on the typewriter.

It was the graphic editor, Reinaldo de Oliveira. Our gang was formed!



3) How was working at Abril Publishing? And please tell us about your association with Victor Civita (The owner) and cartoonist named Jorge Kato, and other professionals who have worked with you at this time.



A: Parenthesis: Among the Tupi TV and Abril Publishing happened the famous: "First International Comics Exhibition" in the jewish neighborhood of Bom Retiro. End of parenthesis!
I found it easy to copy the trace not only : Alex Raymond, as well as Hal Foster, Burne Hogarth, Will Eisner, Al Capp, Milton Caniff and others.
I was invited by Claudio de Souza to learn the Disney style with Luis Destuet, the argentine artist.
I started to draw all the covers of brazilian Disney comics:"O Pato Donald" and "Mickey".

I was an admirer of Victor Civita - though as if we were children - we were criticizing the US policy in a mural created with the name of: "A 
Patada". Were the Korean War times!
Besides Claudio (De Souza) was: Jorge Kato, Micheline Gaggio, Reinaldo de Oliveira, João Batista Queiroz, the argentine Radames Pera, and others.



4) After you participate as artistic director of the "Paulista TV" during her internship at CBS-TV in the US (The US government invitation) which the personalities of movies and comics, you interviewed for the newspaper "Folha de São Paulo"?


A: In the Department of State in Washington, gave a list of persons who wanted to interview: Milton Caniff, Al Capp, Arthur Miller, Paddy Chayefsky, Rod Serling, John Frankenheimer (Worked live in a large transmission in Hollywood, with him on the switch ) and Sidney Lumet.
I was with him in New York, following his work on NBC TV, as in color, where he prepared a live broadcast of a tele drama based on an Ernest Hemingway short story.
I followed all the tests and the play display, beside of him all the time! 
I met the "Lumet method" in any future films that he made.



5) In 1960, you revolutionized the Brazilian television through modern proposal "Excelsior TV", a model of programming that continues today.
Could remember the special moments of this station - and what he believes to have been the cause of its collapse, ten years later?


A: In my book: "Glory in Excelsior TV", with the collaboration of many professionals of that time, as: Jose Bonifacio de Oliveira (Boni), Julio Medaglia, Cyro Del Nero, Manoel Carlos, Antunes Filho, Bibi Ferreira, Ziembinski, and international team, I tell this story.
The various editions of the book have been exhausted, and now it is also available free on the website: "Imprensa Oficial do the Estado de São Paulo" - with this link ... access!


LINK:
http://aplauso.imprensaoficial.com.br/livro-interna.php?iEdicaoID=49





6) In 1967, ushered in the Bandeirantes TV and there, among many things - In 1982 also produced the novel: "Os Imigrantes - The Immigrants" (Benedito Ruy Barbosa, Author). 

How was your experience participate in these two different phases there that TV station?



A: The owner of Bandeirantes TV João Saad, introduced me to his friends saying: - "That boy put my television in the air, alone." 

It was on May 13, 1967.
On 31 May 1967, despite the (João) Saad support me, I was fired.

In 1982 i produced the soap opera: "Os Imigrantes - The Immigrants", as one of the "bosses of Hollywood" (MGM Fox, Columbia, etc).
It was the largest audience measurement since the openning of the Bandeirantes TV until today, reaching double figures: more than 20%.

I sold the soap opera to Italy without receiving anything, because my contract was only as a producer!
Right in the middle of the success of the soap opera, director Walter Clark fired me.
Italian buyers canceled that purchase, complaining that they had bought "another soap opera", and not this "crap" that ended up after my departure.



7) How would you analyze the Brazilian TV today (Internet Influence), primarily as a whole (Open TV and Cable TV) and what you think of the situation that live "Cultura TV"?


A: Open TV only has "Cultura TV" quality. 
In Cable TV, you have the Channel "Curta", an excellent idea of the Bandeirantes Network, the "Arte1".
It also has the Globo News and several intermediate channels, and HBO, very good documentaries.



8) In 1974, while traveling to the US, where and how was the meeting between Lee Falk, Mauricio de Sousa and you? And how did the conversation between Mauricio and Stan Lee at this time? (He said you was his interpreter, so remember) And her friendship with Will Eisner?  


A: Lee Falk: Mauricio and I already know from Lucca to New York in 1970.

Stan Lee: It was also our known from Lucca and New York. What we talked about? Ask for Mauricio!


***ATTENTION
:

Mauricio de Sousa already answered before to the writer Roberto Guedes, upon the same subject:
- "Unfortunately, I have no memory of how it was the chat with Stan Lee...but I talked to him, like a fan! After all, it was one of my idols, so.

Unless I am mistaken - at the time - he said the release of "Iron Man" ... but I'm not sure (?).
Who should remember best is the Álvaro de Moya - who was present and was my interpreter (My
English has never been so good)."
Next time, I take a "small Diary"! (Laughs)

I have met the Moya after this conversation...but I forgot to ask. "

 

Will Eisner: In 1958, with a flat bag offered by the US Government, I asked André Le Blanc, who was in New York to introduce me to the Master of us (Eisner).
In all my books, or almost all, there is the record of our meeting.
The beginning of friendship to the end of his life!

9) "Once Upon a Time... the Yellow Boy"... since 1966 you headed the Brazilian delegation to the Comics Festival in Italy, until 1998.
How many awards, including the "Yellow Kid" you were invited, and the artists who had the opportunity to know these events?

A: The "Yellow Boy" served as the title for the first chapter of my book: "Shazam!".
A coincidence, Lucca adopted this character as a symbol of its top prize, the "Yellow Kid".At that time, Lucca was ... the "Cannes of comics."Today, Angoulême keeps this cultural tradition.Already the American "Comic Con" is just a "laudation" in unfailing production of superheroes.Will Eisner always told me: "superhero comics is one-dimensional".In Lucca, the largest in the world of comics and animation, including from Eastern Europe, were always hundreds of authors.



10) In addition to his friend Carlo Chendi (Recently interviewed by me) what other comic book artists (Disney or not) who met in person and 
what was your impression of each of them, using only one word!


A: In a word it is impossible to define the great authors of comics, many of whom I have spoken in this interview and I always comment on my books.
As for Disney Comics - in 1992, two masters to celebrated his birthday in Lucca - the great veterans: Frank Thomas (1912-2004) and Ollie Johnston (1912-2008)!

11) Thank you again for giving me the honor to interview him. I would like to leave a final message for friends and visitors to my blog.


A: A hug to all friends and readers of this blog and continue honoring the good comics from Brazil and around the world!



ÁLVARO DE MOYA

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