Traces of my chalks (III). Decade 90 (XX century)

Traces of my chalks (III). Decade 90 (XX century)

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Added by 4 November, 2016

Perhaps the most prolific period Miguelanxo Prado and international aggrandizement of his work.

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Both stories Tangencias

 

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Such as Quotidiania Delirante, started publishing in 1987 and 1988 respectively, continue their series during the nineties, until 1996.

 

An island, a lighthouse, a huge dike, a man who is just arriving, a woman who is waiting, and another woman who doesn´t hope anything at all.

An island, a lighthouse, a huge dike, a man who is just arriving, a woman who is waiting, and another woman who doesn´t hope anything at all.

 

Feelings are difficult to handle; and explaining and expressing them is even harder. The misunderstandings are an unavoidable part of the human relations.

Feelings are difficult to handle; and explaining and expressing them is even harder. The misunderstandings are an unavoidable part of the human relations. “Bioy Casares had had dinner with me that evening and we became lenghtly engaged in a vast polemic concerning the composition of a novel in the first person, whose narrator would omit or disfigure the facts and indulge in various contradictions which would permit a few readers -very few readers- to perceive an atrocious or banal reality.”(Jorge Luis Borges, “Tlön, Uqbar, Orbis Tertius”)

 

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This book, made in collaboration with the writer Eric Sarner, has so far been only edited in French (original edition: Une lettre trouvée à Lisbonne) and in bilingual editions Portuguese - French / Spanish - English under the titles Carta de Lisboa and A letter from Lisbon. Any of them is nowadays very difficult to be found.

“This book, made in collaboration with the writer Eric Sarner, has so far been only edited in French (original edition: Une lettre trouvée à Lisbonne) and in bilingual editions Portuguese – French / Spanish – English under the titles Carta de Lisboa and A letter from Lisbon. Any of them is nowadays very difficult to be found.”

 

Tanto Eric como yo conocí­amos Lisboa desde hací­a tiempo y acordamos una metodología de trabajo simple: durante los quince dí­as que durarí­a nuestra estancia recorrerí­amos juntos la ciudad, tomarí­amos notas y apuntes, pero en ningún momento los compartirí­amos, de manera que la visión del uno no condicionase la del otro. Así­ lo hicimos. Sólo hubo dos claras violaciones del acuerdo. La primera, que al cabo de los dos o tres primeros días los dos advertimos que, imprevisiblemente, Lisboa estaba llena de sutiles referencias animales.

“Both Eric and I had known Lisbon for some time then and agreed a simple work methodology: throughout the fortnight that our staying was going to last, we would tour together all over the city and take notes. But we would share them at no time, so that one´s view was not conditioned by the other´s one. And that´s the way we did it. There were only two clear violations of the agreement. The first one was that, in two or three days time, we both noticed that Lisbon is full of subtle animal references.

 

 It was clear that that thread would appear on the text and images. And the second one was an outstanding event related to a picture that was found in an implausible place by chance. It was impossible not to make any comment and draw up a common story around that find.

It was clear that that thread would appear on the text and images. And the second one was an outstanding event related to a picture that was found in an implausible place by chance. It was impossible not to make any comment and draw up a common story around that find.”

 

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“This version of Pedro y el Lobo is my first book -and, by now, the only one- supposedly aimed at childrens audience. But I made it from the perspective of an adult who evokes feelings from childhood; and I sincerely believe that the result is not “purely” a work for children. Thanks to the signing sessions in festivals and book fairs, I have understood that this Peter and the wolf is similar to railway modelling: parents like it to be shared with their children. Well, I do not dislike this idea at all.”

 

The end that Prokofief wrote for the story was very advanced at that time; as the wolf ended up in a zoo. This was a very progressive proposal in those days. I believed that at the end of 20th Century, with new sensitivities and problems regarding Nature and ecosystem, the message could be "updated"; and I allowed myself to alter the end.

“The end that Prokofief wrote for the story was very advanced at that time; as the wolf ended up in a zoo. This was a very progressive proposal in those days. I believed that at the end of 20th Century, with new sensitivities and problems regarding Nature and ecosystem, the message could be “updated”; and I allowed myself to alter the end.”

 

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“Xabarín undoubtedly deserves a special chapter in my career. In 1994, a new boradcast began in Televisión de Galicia, a Galician Television. It was addressed to the child and juvenile audience, and it would include animated series and own production slots. A very intense and varied musical activity would be developed within Xabarín Club (especially the CDs collection, the videoclips, and the Xabaxiras or Xabarín´s tours), having nearly every band and muscian in the Galician (and Portuguese) pop rock from those years collaborating with the slot. Around 1998, the club had 100,000 members (and a great number of “pretenders” who did not fulfil with the indispensable requirement of being under 18 years old.)”

 

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“I have been updating the Xabarín´s image since then. And I have continuously been making cards, badges, t-shirts, posters, CD covers… for the club, too. Having the possibility of having done all this is a real proud for me.”

 

 

At the beginning of 1997, I was proposed to take part as style and characters creator in the animated tv series "Men in Black." We carried out four seasons until 2001. And I made around 1,700 characters, somehow between human beings and aliens. I also made, together with Richard Raynis and Jeff Kline, the film leader of the series.

Men in Black / The Series
“At the beginning of 1997, I was proposed to take part as style and characters creator in the animated tv series “Men in Black.” We carried out four seasons until 2001. And I made around 1,700 characters, somehow between human beings and aliens. I also made, together with Richard Raynis and Jeff Kline, the film leader of the series.”

 

Alex Stevens, with whom I had a fantastic relationship, was the artistic director throughout the four seasons. I don´t remember having argued a single time in four years, which is not easy.

“Alex Stevens, with whom I had a fantastic relationship, was the artistic director throughout the four seasons. I don´t remember having argued a single time in four years, which is not easy.”

 

In 1998, the TVG (Galician TV chanel) decided to take on the production of an animation series. It consisted of 13 episodes and a telefilm with Xabarín as main character. Milímetros Dibujos Animados took part in it as animation studio and coproducers.

“In 1998, the TVG (Galician TV chanel) decided to take on the production of an animation series. It consisted of 13 episodes and a telefilm with Xabarín as main character. Milímetros Dibujos Animados took part in it as animation studio and coproducers.”

 

The technical data of the series can be looked up in IMDb. Ángel Izquierdo and Antonio Zurera, two great professionals, were the directors. And they were able to carry a funny production through with no problems. I made about 500 designs throughout the two years of work.

“The technical data of the series can be looked up in IMDb. Ángel Izquierdo and Antonio Zurera, two great professionals, were the directors. And they were able to carry a funny production through with no problems. I made about 500 designs throughout the two years of work.”

 

Source: www.miguelanxoprado.com

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