Instinctively played the proposal down by saying, “I am no Disney company.” Īs explained by Bendazzi in 1972, “whoever prepares to the one hour and half trial in animation is at a crossroad: aĬompetition on par with Disney, to give the audience what is already in their desires, or a competition to negate Disney and Prompted by Attilio Giovannini to try his skills with the long format, Moreover, when Bozzetto started making full-lengthĪnimated films in the 1960s, the only popular model of animated feature was the Disney one. The association with Disney’s name was thus also based on his fame. ( La gabbianella e il gatto, Lucky and Zorba, 1998) Of the full-length animated features 25 by Enzo D’Alò The only popularly known director of Italian animation for many years, at least until the late-1990s commercial successes However, it is also true that Bozzetto has been Of the Italian press, which holds Disney as the only reference in animation. So, the recurring labeling of Bozzetto as a new Disney is just part of the easy parlance Is to say, he made humorous films, with caricatural characters, whose vicissitudes are worthy of the purest slapstick comedy.” In the path of the same tradition (a tradition Disney is only part of, because it was born ‘before’ Disney) that Soon after that “I always advice to not imitate Walt Disney.” In fact, Bozzetto never did so as Bendazzi argued, the only thing he might have in common with Disney is that “he remained
He conceded once that his own style might be “a mixture between Waltĭisney and McLaren, and those two are diametrically opposed characters!” adding The director never sought an artistic confrontation with his colleague in Hollywood, It was inconceivable to make films like he did, with such a rich animation, so technicallyĪdvanced … You get scared even before you start! … I discovered that it was possible to make an “intelligent” film, a parody of everyday life, withĪ bare drawing style … just like mine! So, after all, it was Disney again that directed me towards this job.
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Main sources of graphic inspiration (see the Introduction) but also a strong motivation to overcome his hesitations and seeĪ professional future in the same field of Disney: My poetics got influenced by it for good.” Moreover, the Disney short Toot, 24 Plunk, Whistle and Boom was not only among his early … There I learned what is man to nature” “from that moment, I think that Has also a personal attachment to Bambi ( David It is true that Bozzetto has repeatedly voiced his unconditioned admiration forĭisney: Allegro non troppo is directly inspired by Fantasia,Ī film the director saw in theater more than a dozen times, and that he calls “a revelation, something essential to me, a part of my life.” Bozzetto However, both comparisons are misleading. The recurring comparison withĭisney tells a lot about the average Italian idea of animation and how it has been forged by the works of the American entrepreneur.
Disney” or “the anti-Disney”: there is no middle ground, in the formulas the Italian press employs when