Alejandro del Prado (CALEA) was a cartoonist and illustrator who portrayed Rosario and Buenos Aires one of the features through its "Buenos Aires in T" published Type in Rico from 50 to 1963 (the death of the author only 38 years).
In his work there is much to say and show. That will be a little later. In this case, I scanned a few pages of his work for the Paper no. 2 of Buenos Aires in T (Spot Productions, undated, but presumably the decade of 60) where you will see that things have now changed considerably, although some less so, to accompany the text that follows and the film itself ( ViendoaPepeBiondi uploaded to YouTube, who know his real name but you have to really thank you have shared this valuable material. It was recorded at the same time the television show Ink and although the quality is not the best, worth watching).
For now, simply add that it was one of the films shown at the recent show of OSDE "We got to laugh" with Upa in Need.
first thing you should say is that this short film of 1963 is not - strictly speaking - a film with moving characters. It is the still image capture, with those who have made pan, zoom, etc. I am not an expert in these techniques, so I invite those who wish to do so give a more accurate and precise explanation. Transcribe
Here, then, the story that made Ana Bianco (Página/12, September 9, 2009) the film director Martin Schor and Mary Ester Perez de Prado, widow of the artist:
- Did you have a personal relationship with Cale before filming?
Martin Schor: -No. But I read your story in Buenos Aires in T-type Rico and wondered: "How does this guy goes on in my neighborhood and my house?". In the magazine told me that Cale was not working for some time and gave me their address with a request: when she found he had to tell him to give a return. I went home, I attended Mary Esther, his wife, and I learned that her husband was hiding, that she did not want anyone, was tired of drawing and Argentina's political situation affected him. It was three months after the coup of '62. By looking at the pictures I realized the relationship he had with the reality of the country. In its underdrawings spoke of the poor and lower middle class who never received nothing, he could not go on holiday or buying presents for their kids. He represented the common man.
Maria Ester Perez de Prado, "Cale was becoming more demanding, was surrounded by people in the cultural field, writers and musicians, and it was heavy. Made sketches and more sketches and then trace their own drawings to not touch them up. Sought perfection in the drawing, he spent sleepless nights and smoking cheap cigarettes. When in 1994 came to film the Ministry of Culture of the Nation, I showed the sketches and were impressed with the process until a drawing. The paper made clear he did not want to retouch.
- Calé How did the filming of the film?
MS: "We started working with the originals, which were great, and besides, he consolidated about eight styles over ten years. The last style was extraordinary, he could not make a short 20 minutes with all styles. The film is not didactic, tells the life of the people through Calé drawings. I had to push because he did not want to draw, but it ended and I could shoot. I spent six months looking at about 5 thousand pictures and I could choose a beginning, end, and decide how I would use. I gave an order to the drawings which were all scattered, I removed the text and balloons, which in the short one could see, and I used the voice of an announcer, Jorge Raul Baltallé, who in turn did the voices of all characters.
MEP: "The film was just another job. He was getting out of drawing, but I said: "We are waiting for Martin. The (Schor) began to come more often and eat some good seedlings waiting at the front door that Cale began to get going, because he was half "bob" to walk and everything. The short was made by Martin's patience.
-Schor How he managed to give movement to the drawings?
MS: "In January '63 I shot two weeks. The problem is that in this kind of drawings with black and white lines the camera can not perception and there is a fillage, a shivering. I consulted a Birri, who had filmed the first foundation of Buenos Aires in color with pictures of Oski, and he sent me to see Leon Ferrari Castelar, to ask the desk he had used for filming. Ferrari had assembled in his workshop in a huge two-meter board to put the drawings. The camera was mounted on two rails with skates and came and went forward and backward. For no problem making vertical, for horizontal movements made them the board. Ferrari I assembled the table and took her to one study, there were two kids who ran the ball bearings to move the wooden panel is supported and moved. Adelqui Camusso, which was light and handled the camera, saying: "Ya!", Stopped all and the image was perfect. Cale came to see the silent movie.
-figures in the credits as Horacio Salgán tango, Astor Piazzolla and Anibal Troilo, among others. How did you with them?
MS, "by Cale. Choose the topics to the soundman and the short musicalizador, San Salvador Viale. Calé sent me to see him Troilo, Piazzolla and Eduardo Rovira to ask permission to use their music. "A Salgán or go to see him because he is a friend and there will be problems," he said. I wondered how he knew those figures of tango, because I never talked about music ...
MEP: "My brother, Roberto Perez Prechi, bandoneon player Osvaldo was Fresedo and a well-known arranger. With Cale attended the Lower and cabarets. Cale and was a friend of Piazzolla, of Salgado, Leopoldo Federico. Horacio Salgán so admired was his representative, but did not serve to represent Calé anyone.
-Schor, how what stage his documentary Calé: Buenos Aires T-shirt?
MS: "I try to show it at the time and prove that it was a visionary. I started the project in 2003, got the credit of the Inca and I'm editing in full since 2006. Comic movies that were filmed, including the U.S., have 10 percent of cartoon and 90 percent of people talking. Drawings film presents technical complications. And I got up with Cale, instead of having two or three characters that characterize deployed a number of drawings that represent a myriad of characters.
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