#GIPI

[ilfascinodelvago]

La risposta è dentro di te, ed è quella giusta.

[acrosstheuniverse02]

Gipi [Gianni Pacinotti], illustratore e fumettista italiano (1963)

[*]

[*] pagine da "Unastoria" (2015)

via pinterest

[alter-petrus]

Oggi compioni gli anni Zerocalcare (40) e Gipi (60). Per caso oggi mi sono trovato a pensare a uno dei due, in termini non entusiastici. E dell'altro ho visto ulteriori fanart NSFW.

[metabotulism]

[afnews7]

Coconino Press presenta la nuova collana dei Tascabili, si parte dal 23 agosto con Gipi e Zulu

Coconino Press ha iniziato a presentare sulle proprie pagine Social i primi numeri della sua prima collana di Tascabili, in partenza dal 23 agosto, con Gipi e Zuzu. Ricordiamo che la nuova collana dei Tascabili intende proporre nuove edizioni di opere selezionate tra quelle degli autori più amati del fumetto italiano e internazionale, in formato 15 x 21 cm, in veste curatissima e da collezione,…

[untipoannoiato]

[xreverendox]

[who-do-i-know-this-man-s3]

⚠️Vote for whomever YOU DO NOT KNOW⚠️‼️

[bidonica]

I should post my own design of the village girl to make a statement

[juieon]

me on thursday when they perform hot sauce after saying wtf is this song every time i listened to it

[magpieinthemorning]

La terra dei figli (2021)

[lesbiheon]

pull up skrr I just wanna love

[pochiperpe90]

[ENG] PARDO - Interview with Luca Marinelli

“Luca Marinelli is a true phenomenon!” This is how Paolo Virzì, who directed him in Tutti i santi giorni in 2012, defined the actor a few years ago. He was absolutely right. Throwing himself body and soul into each of his roles, Luca Marinelli does not limit himself to playing a part, but manages to transform himself completely, creating intense, charismatic, unique characters. From the young introverted mathematician in La solitudine dei numeri primi (2010) by Saverio Costanzo, to Roberta in L’ultimo terrestre (2011) by Gipi; from the criminal in Non essere cattivo (2015) by Claudio Caligari to the cult character of the Zingaro in Lo chiamavano Jeeg Robot (2015) by Gabriele Mainetti; from the proletarian intellectual in Martin Eden (2019) by Pietro Marcello, to the King of Terror in Diabolik (2021) by Manetti Bros; from Nicky, the immortal warrior, in The Old Guard (2020) by Gina Prince-Bythewood, to Pietro, a fervent mountain enthusiast in Le otto montagne (2022) by Felix Van Groeningen and Charlotte Vandermeersch; Luca Marinelli has been able to give life, thanks to his prodigious versatility, to an extraordinary range of characters who all bear the unmistakable sign of his talent.

Maria Giovanna Vagenas: In your current career as an actor there are two important works coming out soon: the television series M. Son of the Century by Joe Wright and The Old Guard 2, by Victoria Mahoney. While waiting to be able to see them, I would like to start by addressing a perhaps less well-known but equally essential side of your work: your debut as a theater director in 2023 with Kafka's Una relazione per un’accademia, for the Festival dei Due Mondi of Spoleto. How did this project, on which you collaborated with the German actor Fabian Jung, come about?

Luca Marinelli: The first idea for this project dates back to ten years ago when I saw Fabian at his graduation performance at the Ernst Busch Academy of Dramatic Art in Berlin. I found it extraordinary, and on that occasion I had already told him: "In my opinion you should recite this text!" Then there was a ten year gap. Towards the end of the pandemic, I proposed to him that we work together on Una relazione per un’accademia. At the beginning we had to be both on stage a bit, later I understood that it would have been more sensible to mount this piece with just one actor and I asked him if he would like to be directed by me.

MGV: What was your approach as a director? 

LM: At the beginning of this project I was more of a kind of acting coach - Fabian acts in Italian, even though he doesn't speak it - then I began to understand what it meant to be a director, to take responsibility for everything the public will come to see, to make many decisions and to take care of an entire team. In this context, the exchange of ideas with Fabiana Piccioli, who deals with the light design of the show, was essential: the theatrical piece is in fact a kind of dialogue between the actor and the light, the space and the audience. Being a theater director is also a question of trust. In the cinema the director is very present until the end of the production process, but in the theater you get up to a certain point and then that's it, because the real work, evening after evening, falls to the actors and technicians, that is, to those who are in the scene and around it. The director is no longer part of the performance, he’s almost the first spectator of his own work. It was a very beautiful experience for me, because being "outside", that is, not being on the scene but in front of it, is truly something completely different! In February-March 2025, we will take this show on tour around Italy.

MGV: Do you plan to continue along this path in the future? Is it an experience that has opened up new perspectives for you?

LM: It's a road I'd like to explore, that of theater. I would like to return to the stage as an actor-director, a bit like a master, let's say. I feel that theater is much more accessible to me, while I know very little about the technical side of cinema and for which I have great respect, so for now I don't feel like it.

MGV: You come from a family close to the world of entertainment. It seems that as a kid you watched a lot of movies with your grandmother. I would be curious to know how your desire to become an actor was born in this context. 

LM: My father is first and foremost an actor who is also dedicated to dubbing and my grandmother, as you said - a great cinephile. I owe a lot to every member of my family, whether they work in the arts or not. However, I cannot tell you where this desire comes from, each of us has a drive within us, and is attracted by something. Indeed, I grew up watching many films and, thanks to my father, I happened to know this work in various forms. But when you are very young it is difficult to say: I want to do this! I felt very attracted by the world of theater and cinema, by the idea of ​​expressing myself in a way that went beyond words, which approached images, sounds, the body. I wasn't fully aware of it from the beginning, but now I feel that it's exactly this: I love observing an interpreter's body, listening to their voice. I love seeing a group working together and I love teamwork. The profession of actor contained within itself a bit of everything that nourished my curiosity. This desire has been growing more and more. My family has always been very supportive and has never hindered me in anything. Rather, I was the one who hindered myself, until, at a certain moment, I gave myself permission to approach this profession and entered the Silvio D'Amico National Academy of Dramatic Art. They were three wonderful years during which I gave free rein to all my curiosity and desire for expression. The relationship with my class was fundamental and magical. From there, little by little, I moved forward. Almost immediately, cinema arrived with Saverio Costanzo who hired me for La solitudine dei numeri primi together with Alba Rohrwacher. I auditioned while I was still at the Academy and was acting in the final recital Dream of a Summer Night directed by Carlo Cecchi. I finished the Academy and immediately went on set for the first time.

MGV: You found Carlo Cecchi again as an actor on the set of Martin Eden (2019) by Pietro Marcello many years later. 

LM: Of course, and it was wonderful to meet again! I consider Carlo my teacher, he is the first who truly made me understand the importance and urgency of this profession. 2012 was the last time I was on the boards of a stage and was with him. Carlo Cecchi had become very fond of us all and with this graduation essay he managed to take us on tour. Basically we did two theater seasons from 2010 until February 2012.

MGV: Are there other directors, among all those you have collaborated with, that you consider to be your teachers?

LM: I met some great directors during my journey, each had their own vision of art, so it's as if I had many different teachers along a single professional journey. I would practically name them all, but I would also name the actors I simply observed in films.

MGV: Between the actors who inspired and influenced you, who would you quote?

LM: For the sake of equality, I only mention the actors of the past. There are many who have struck me but I always evoke Anna Magnani, Silvana Mangano, Marlon Brando and Massimo Troisi. These are the first huge names that come to mind. When I 'met' them on the screen I immediately realized I was faced with something unique and great. I like to mention these four names also because they belong to a moment in my life in which I still didn't know what I would do, but I was drawn towards them.

MGV: Non essere cattivo (2015) was Claudio Caligari's last, poignant and wonderful film, released posthumously. What are your memories of him?

LM: Claudio Caligari was a gigantic meeting for me, from him I learned how important expression and communication, sharing and respect are. I understood how much this profession is life and how much life can be put into it. I witnessed enormous courage and a great knowledge of filmmaking. I also learned the dedication and immense respect that one must have for the public, for what is proposed, for how one interacts with those who come to see a film, without ever putting oneself on a pedestal but being all together. Caligari taught me to never judge myself, nor others, nor the stories one tells nor the characters one plays but that one must stay with them, inhabit them. These are the few things, fundamental for me, that come to mind. Beyond this, every single memory is a source of inspiration and guidance for me. And then the certainty that love and passion are the only things that really keep us here and now, alive.

MGV: In 2019 you played the complex character of Martin Eden in the film of the same name directed by Pietro Marcello, and you won the Volpi Cup at the Venice Film Festival. What did this role mean to you? And what was it like working with Pietro Marcello? 

LM: The collaboration with Pietro arose from a secular prayer which has been fulfilled over the years. I was a great observer of his work and his art and finally being able to work together was a great gift, a true exchange based on trust. We all found ourselves in a moment of grace, in a state that allowed us to work with great concentration and dedication together. As for the role, I think Martin Eden is one of the most beautiful male characters of the last century, in one of the most powerful novels ever written. I owe a lot to this character, not only a very prestigious award, but also important artistic and personal growth.

MGV: You have played an extremely wide range of roles, spanning from one film genre to another. Beyond your exuberant talent and the extreme versatility of your performances, what is striking about your acting is the generosity with which you embrace each character, offering your all. How do you prepare your roles? 

LM: It's like a kind of love at first sight; I fall in love with the story, with the character and from that moment on I begin to see everything in that direction. It is an almost routine behavior that I have never schematised. If someone were to ask me, "How do you approach a character?" I would answer that I have no idea, but every time I do it more or less in the same way. There is certainly a certain affinity with the director and an involvement in the script and the character. Little by little I'm starting to eat all the information I can find. I am often offered films to watch, and then I discuss them with the director. I love working with imagination and thinking about every element of the character. I like being with the costume designer, working on the costume and then creating the look of my character with makeup and hair. I'm very happy when I can have my say too. As I said before, I fall in love with the character and I begin to see everything in that light. My wife always tells me: "You've already started!" I don't notice but she does! "You've already started!" it means that everything has started to take on that colour, but I don't do it on purpose, I believe that there is a more intelligent, unconscious part inside me that organizes my work. It's a bit like this!

MGV: A few years ago Paolo Virzì, who directed you in Tutti i santi giorni, said of you: "Luca is a phenomenon, he's intelligent, witty, but at the same time he's crazy, he becomes what he's doing. All the great actors have a kind of lack, a defect, they know who they are and therefore they are enthusiastic about becoming the one who proposes to them!" What do you think? 

LM: I agree with him, all this is said with deep love and therefore I accept everything he says about me. I love Paolo so much and I think he understood me more than I understood myself. In fact I think none of us really have a clear focus on who we are and what we can be. Of course this is an interview from a few years ago, perhaps now I know slightly more - but only slightly [laughs] - who I am because I am closing, so to speak, the first act of my life, given that this year I will be turning 40!

MGV: Being an actor is a collective profession. Over the course of your career, a very significant bond has been created between you and Alessandro Borghi, with whom you collaborated for the first time in Non essere cattivo and who you met again on the set of Le otto montagne of Felix Van Groeningen and Charlotte Vandermeersch, Jury Prize at Cannes. Could you tell me about your working relationship and your friendship?

LM: I'll start from the beginning of what you said; for me this isn’t a job we do by ourselves. This art doesn’t exist without the other. Even a monologue is not done alone but with the audience. Acting is always a way of expressing oneself and communicating. I adore, as I said before, teamwork, over the years I have happened to work with many wonderful colleagues who have become important friends and then there was this magnificent meeting with Alessandro during Non essere cattivo, a film that carries within itself something sacred due to how it was approached, and due to the strength of the great Claudio Caligari who created it. The two of us found ourselves actors in this extraordinary work which united us so much, creating a deep bond between us which at that moment was needed, let's say, for the film but which the film then gave us for life. Since then this friendship has continued and gone forward, without interruption. After Non essere cattivo for six years we were no longer able to work together, then suddenly another wonderful film arrived, full of love: Le otto montagne and thanks to two fantastic directors, Felix and Charlotte, we managed to make this friendship coincide again on the screen too. Alessandro and I are good together. At work, to put it in a football metaphor, for me it's like I always know where the other guy is so I can make a cross almost with my eyes closed because I know he gets the ball, stops it and shoots it towards goal! We have great chemistry and on set, we don't need to worry too much. I hope we can work together again soon. I happened to see an interview where we said that we promised ourselves not to wait another seven years to do it, but now it's been almost three years already so we have to hurry!

MGV: For a few years now you have also started an important international career by participating in important productions such as The Old Guard by Gina Prince-Bythewood with Charlize Theron which was a huge success on Netflix, the series Trust (2018) by Danny Boyle, written by Simon Beaufoy and starring, among others, Donald Sutherland, and a production for German television: Die Pfeiler der Macht (A Dangerous Fortune, 2016), by Christian Schwochow. How did you experience dealing with all these new production realities?

LM: In every latitude there is a slightly different type of approach but essentially the work is always the same. The thing that always excites me is that, ultimately, we all find ourselves in the common language of acting, of art. I was lucky enough to work with some wonderful international casts, not only every single actor but also the technical departments and directors were wonderful people. Ultimately, the place changes geographically, but the work remains the same.

MGV: As a member of the Jury of the International Competition, what will your evaluation criteria be?

LM: I was just looking at the list of films in competition and judging by the images that accompany them I already like them all, so maybe I'm off to a bad start! [laughs] I don't actually have any specific parameters. I certainly won't judge only the performers, but I will look at the film as a whole. However, for me it is essential to start from the assumption of great respect for the film itself, because every film is a work that requires great efforts from many people and for this reason must be evaluated with consideration. Having said that, I would like to have a good dialogue with the film, an intelligent dialogue on an intellectual and emotional level. In short, I hope that a film leaves me with a thought, a sensation, an emotion.

As usual, sorry for any mistake and my English

[jihyoruri]

LUCID DREAM— idol! yu jimin x idol!reader

warnings: 5th member reader, same yn and jimin from back to you, it doesn’t matter which one you read first

“no, no, no I can’t stop love.” yn’s soft but powerful voice sang into the mic, the eyes of the producer and her leader burn into her and repeats her lines of the song.

it made her uncomfortable and slightly nervous, it’s not like she hasn’t recorded songs that she’s written before, she does it all the time for demos, it’s the very reason that this time she’s singing a highly personal song, a song that was never supposed to be for the public, a song that was just supposed to be for her and her mind.

she curses aeri for convincing her into showing it to the production team, now she has the person singing the song that she wrote about them on a song with her and the rest of her members.

“you sound tense.” the producer says to her through the clear booth, yn laughs awkwardly at the comment, of course she’s tense, “that’s because I am.” yn blurts out, she curses at herself when both her leader and producer raise their brows at her honesty, she has to do something about her filter.

“this is your song yn.” the producer says leaning back in their seat, “and it’s your lyrics yn, loosen up.”

yn opens her mouth to respond but gets cut off by the girl seating in the seat behind the producer, “I think she should let some vulnerability into her voice, since it’s such vulnerable lyrics.” jimin says, she’s talking to the producer but has her eyes on yn, “the song seems to be a product of her fragile feelings, so I think letting some vulnerability into her voice would make her sound better, it always does.”

yn furrows her eyebrows at the last part, the groups producer doesn’t seem to pick up on jimin’s slick comments and nods their head in agreement at jimin’s statement, “I agree, yn let some of the thoughts that you had in your mind when you wrote this into your mind and keep it there.”

the only thing that runs through yn’s mind is why would she do that? why would she let all those thoughts into her mind?.

the only thoughts that ran through her mind that night when she wrote the song was, insecurity, hate and desperation, yn nods her head anyways because when she takes one look at her leader, she doesn’t even need to go back to that night, the thoughts are already in her mind.

“neon jakku jiteun eodum soge deo gipi.” she sings into the mic, letting all her thoughts of jimin and hers relationship, she closes her eyes as she sings not wanting to even take a glance at her leader, “no, no, no, I can't stop love.”

she opens her eyes and hears a cheer from the producer, “that sounded so good yn.” they say giving her a clap, “so much better, jimin was completely right.”

yn shifts her gaze to the girl that only smiles bitterly at her, “leader knows best I guess.” yn says, letting out another awkward laugh.

“well, that’s a wrap for today.” they say looking at the time on their phone, “it’s after midnight you two need to get home.”

the feeling of relief fills yn, as she takes off the headphones and walks out the booth, she bids goodbye to the producer before grabbing her tote bag and walking out the room, leaving jimin.

she feels the older girl walking close behind her, “yn wait up.” she doesn’t want to, but she does anyway.

yn tenses when she feels jimin’s arm wrap around her shoulders, she hates that she feels some sense of comfort with it around her.

“oh, so you’re not in one of your moods anymore?” yn asks lazily, peering up at her leader, jimin is like a switch when it comes to her and yn, sometimes she’s on sometimes she’s off, it’s so hard to understand her.

“shut up.” jimin mutters as she pulls yn closer to her, the two girls walk out of the building and head over to the black van that waits for them.

both girls get into the back as the greet the driver, jimin picks up the blanket that’s on her seat and throws it over her and yn’s legs.

this is why yn can never get out of this relationship no matter how hard she tries to, the moments like these are the highlights of her day, the moments when jimin is her jimin, the soft jimin and caring jimin.

but that never lasts long.

as yn’s focus is mainly on her phone she gets startled out of her phone by jimin’s head leaning on her shoulder.

she goes still for a couple of seconds, before turning off her phone, knowing if jimin saw who she was texting it wouldn’t end well.

yn stares into space trying her best to ignore the multiple buzz’s that come from her phone, she leans her head back when she feels jimin shift, “are you gonna answer it? the buzzing is getting annoying.”

“nah, it’s okay.” yn says trying her best to sound nonchalant but it comes out sounding very awkward, “just ignore it.”

“who are you talking to anyway?”

“no one important.”

yn wants to cry when she feels jimin reaching over for her phone, she side eyes the older girl awkwardly, she knows if she jumps for her phone it would make her even more suspicious.

“ryujin.” jimin hums before looking back up at yn, “I thought I said to stop talking to her?” she says with a strangely calm tone.

“yeah…” yn drags out scratching the back of her neck, looking outside the car window, “it’s just she’s a close friend of mine I’d feel bad if I just dropped her like that.”

“a friend that caused you to get into a scandal.” jimin says passing yn’s phone back to her, “that almost ruined our groups image you know? you’re lucky your stans know how much of a loser you are that you’d never get caught dead kissing someone outside of jyp building.”

yn let out a nervous laugh at the last comment, she’s happy that her fans came to defence, even if they were wrong , “I know jimin but-”

“do you wanna ruin our groups image?” jimin asks sternly cutting her off,her eyes burn into yn’s.

yn looks down defeated, she hates when jimin does that, making things seem like they’re her fault, “no… I don’t.”

“you’re right I’m sorry.”

jimin then smiles, completely satisfied at yn’s surrender, she then grabs yn’s hand and squeezes it, “good, I’m just telling you what’s best for you, that girl is bad news.”

yn just looks down at her lap nodding but jimin grabs her chin and turns yn’s head towards her, “I care about you a lot yn, you know that right?”

“yeah I know.” yn responds quietly, it doesn’t feel like it though, she says in her mind.

“good.” jimin then goes back to her position, putting her head on yn’s shoulder, “now that, that’s all settled, do you want to sleep in my room tonight?” jimin asks, “I’m not coming in yours, who knows what I’ll find, it always smells like marijuana in there.”

yn laughs softly at the last comment, “yeah, you’d probably have a heart attack if you came in my room, so yes I’ll expect your offer.”

“make sure bring your weighted blanket.” jimin says as she plays with yn’s chunky rings on her ringers.

“the one with the heat or the other one?”

“the one with the heat obviously.” she says looking up at yn’s face, smiling she brings her head up and places a kiss on yn’s cheek, “you’re so cute.”

“shut up.”

[ach-thebrother]

illustratori/fumettisti italiani (02)

Andrea Serio [*] Nausicaa, l'altra Odissea

Lorenzo Mattotti [*]

Luigi Critone [*]

Manuele Fior [*] illustrazioni per il libro "Milano alibro 9" di Giorgio Scerbanenco

Gipi (Gianni Pacinotti) [*] Illustrazione per Il guardiano del faro - I racconti estivi di Paolo Rumiz 

Ivo Milìazzo [*]

Gigi Cavenago [*] illustrazione per Dylan Dog

https://www.lospaziobianco.it/da-kleiner-flug-nausicaa-laltra-odissea-di-bepi-vigna-e-andrea-serio/

https://www.ilpost.it/2014/10/24/lorenzo-mattotti-moda-logos/

https://altritaliani.net/article-luigi-critone/

https://www.ilsudmilano.it/2024/04/09/scerbanenco-in-mostra-le-cover-dei-romanzi-disegnate-dal-fumettista-manuel-fior/

https://www.arte.it/foto/le-opere-di-gipi-in-mostra-a-genova-237/2

https://www.facebook.com/DylanDogSergioBonelliEditore

[chacha-tortuga]

Do you have any particular inspirations for your artwork?

Hello!

I will preface this by stating that I draw way less than before for multiple reasons, so it's come to a point where all my inspirations are fuzzy in my mind. My visual library has been fueled a lot these last years but it's become passive to the point of not really thinking about it much anymore. The few times I draw for myself I rely solely on my comfort zone so it's become a feedback loop of trying to stick to my own art and where influences per se get drowed out. But answering this ask I will try really hard to find what got me to have various visual "it makes sense alright". I won't also mention the influences I have for professional related works because they change all the time and when I'm a technician I don't feel like my style has that much of an importance.

So, my Influences :

Style wise I had a before-and-after feeling when I discovered the art of Alexei Kallima. His works focus on various themes but I really am inspired by his paintings depicting hooliganism and violence. His compositions for his series of the team of parachutist women are simply incredible.

Speaking of hooliganism, the short film I Love Hooligans by Jan-Dirk Bouw is also an inspiration.

For my traditional art, I use mostly a gel pen freehand for my sketches, which is my favorite way of drawing all things considered. I use a bit of watercolour occasionaly to make my sketches more lively. My main influence in that medium has to be Gipi and his comic books. My favourite ones are Appunti Per Una Storia Di Guerra and S. You can absolutely see how I shamelessly copied his lines and features on his characters, I find them absolutely delightful.

My friend showed me a short film which was very similar in style, it's called Yul et le Serpent by Gabriel Harel. I loved it.

In terms of linework, Taiyo Matsumoto was also a before-and-after experience. I discoreved him with Amer Beton and Ping Pong and absolutely got won over style wise with Number Five. I now usually get a bit rougher with my ink lines with my pen like him. He gets different levels of detail and varies style depending on the feeling of a panel or the distance to the viewer. I joke saying he pretty much doesn't give a fuck about the character model and I wish I had that intuition about my own drawings. The animated adaptation of Ping Pong is probably my favorite anime, and inspires me greatly for my animation work. Once again playing with the medium.

My main "intuition" in art has always been colours. I love colouring my art and choosing what goes well with what and do the colour scripts for my projects and all. Movie wise the main guy who gets me creative is Rémi Chayé. The Long Way North is one of my favourite movies and the colours there are insanely good.

Otherwise I'm a huge fan of abstract art, I will only cite Rothko because it's the only one where I've seen his artwork in the flesh and I Get how his colours works organically.

Other abstract artists who inspire me, but not especially related to colours for my art are the russian avant-garde artists, I love constructivism and suprematism (I even got a tattoo of a work by Iakov Chernikhov, the one pictured in fact). So obviously Malevitch (regarding of the period), El Lissitzky, Rodchenko, Varvara Stepanova etc.

Ukrainian mosaic artists but in particular Galina Zubchenko.

For my personal art including my OCs my main inspiration is the photographer Robert Capa.

Another photographer I love is obviously Robert Mapplethorpe (two Roberts mentionned!).

You'll get that now I mostly draw stuff related to post apocalypse and/or wastelands scenarios, so the books Metro 2033, Roadside Picnic (a lot of books and novels from the Strugatski brothers in general). I tend to stick with an artisanal vision of these settings rather than a fully militarized one. I think it makes everything more interesting.

I can't not include obviously real footage and photographies of modern conflicts I guess.

I guess that's all I can think of "precisely" and can name with certainty. I also have a pinterest board for art inspiration if you want to check it out.

I hope that's not too disappointing of an answer and that it's at least interesting.