Newsgroup: it.politica
Titolo: ERNESTO HA DECISO: DENUNCERA' TUTTI I NON COMUNISTI ....

E' STANCO DI ESSERE SVILLANEGGIATO 
E COME TESTIMONE AVRA' NIENTEMENO CHE ANNA NAPPI 
E CON ESSA TUTTA LA BANDA DI FROCI INCALLITI DI QUESTO NG. ADERENTI AL 
PCI. 
 
IO VORREI SAPERE SE E' VERO CHE PER ISCRIVERSI AL PARTITO OCCORRE AVER 
FATTO IL CORSO DA FROCI CHE LUSSURIA TIENE IN QUESTI GIORNI A REGGIO 
EMILIA ???
 
-- 
.................................................................................
PADANIA LIBERA DALLE BESTIE COMUNISTE,  DA CERTI 
MAGISTRATI GOLPISTI E DAGLI  IMMIGRATI CLANDESTINI 
http://www.mynewsgate.net/mp.php?u=21642
 
 

 EMILIA ???
 
 
Da quando è morto il vostro idolo
siete sempre alla ricerca ni nuove nerchie.
http://tinyurl.com/6k3usm
 
 
-- 
 
 
Come diceva il generale Custer degli indiani,
per chi guida la finanza e ci giudica sulla base dei propri interessi,
 il solo sindacato buono è quello morto.
 (Giorgio Cremaschi)
 
 

 
 
A te forse piacciono i culattoni solo se sono di sinistra.
In realta' l'omosessualita', nelle sue infinite
sfaccettature, e' l'espressione di varie patologie
e traumi, spesso curabili, e come tale puo'  colpire
chiunque indipendentemente dalle idee politiche.
In ogni caso Haider era una persona ammirevole
che amava la propria terra e la propria gente.

dimo...@gmail.com
 ha usato la sua tastiera per scrivere :

Ammirevole per i legonazifascioidi


 
 
Va bene, se il tuo cervello ha bisogno di
classifiche standard, considerami pure
nazista, fascista, leghista o quello che ti pare.
A me poco importa. A proposito, puoi mettermi
anche tra gli ebrei, visto che ho almeno il
12,5% di sangue ebreo.

Scriveva 
dimo...@gmail.com
 martedì, 22/04/14:

Forse non lo sai ma il tuo idolo, fra l'altro, era antisemita.


che amava la propria terra e la propria gente.
 
ne conoscevo un altro di austriaco col nome di 6 lettere che cominciava per
H e finiva con "er".
e milioni di coglioni dicevano di lui le stesse cose che dici tu.
 
 
 
bogie
--
Membro del Luigino Fans Club
 
"Non ho niente contro Dio.
Sono gli iscritti al suo fan club che non sopporto."
 
 

 Forse non lo sai ma il tuo idolo, fra l'altro, era antisemita.
 
 
vabbè, che c'entra, sempre fissati con il razzismo voi comunisti :-)
 
Haider era un bel maschione carinzio, punto.
e al cuor di dimonio69 non si comanda!
 
poi lo sai...sarà che il buonanima era di destra estrema, sarà che aveva il
nome di 6 lettere che inizia per H e finisce per "er", sarà che era
austriaco...la nostalgia ha fatto il resto.


 
 
"padania libera"  ha scritto nel messaggio 
news:201404221...@mynewsgate.net...
 
E' STANCO DI ESSERE SVILLANEGGIATO
E COME TESTIMONE AVRA' NIENTEMENO CHE ANNA NAPPI
E CON ESSA TUTTA LA BANDA DI FROCI INCALLITI DI QUESTO NG. ADERENTI AL
PCI.
 
........................................................................
 
 
Qui non ci vogliono gli avvocati ma persone vestite di bianco :-)

 
 
Notare che gli stessi milioni di coglioni
stanno inculando allegramente da anni i grandi
geni italiani. Trai tu le conclusioni.
 
p.s.: hai mai letto Mein Kampf? Ti sarebbe
utile per capire tante cose del giorno d'oggi.

utile per capire tante cose del giorno d'oggi.
 
certo, come no!
mo' me lo segno (cit.)


 "padania libera" ha scritto nel messaggio news:201404221...@mynewsgate.net... E' STANCO DI ESSERE SVILLANEGGIATO E COME TESTIMONE AVRA' NIENTEMENO CHE ANNA NAPPI E CON ESSA TUTTA LA BANDA DI FROCI INCALLITI DI QUESTO NG. ADERENTI AL PCI. ........................................................................ Qui non ci vogliono gli avvocati ma persone vestite di bianco :-)
 
L'erede dei protosuchi mette sempre il suo commentino non richiesto da nessuno.
Svillaneggiano dai villani? E' normale per le persone intelligenti.
A parte i paranoici che sono alla lungo un po' noiosi, gli altri lasciano il tempo che trovano: sereno variabile.
 
;-)
 
e


Dotto' Tarocco fatti ricoverare al Cottolengo.
 
Aspettiamo sempre di vedere il Certificato in bollo della tua tanto millantata 
fantomatica Laurea stampato su carta filigranata con il sigillo di autenticità, 
con l'elenco con voti e date degli esami tra i quali i 20 esami che avresti dato
in 18 mesi per conseguire la singolare Laurea in Economia e Commercio ottenuta 
con la tesi LIBIDO.
 
 
 
_______________________________________________________
Non discutere con un idiota; 
ti porta al suo livello e poi ti batte con l'esperienza

Qui non ci vogliono gli avvocati ma persone vestite di bianco :-)
 
Dotto' Tarocco fatti ricoverare al Cottolengo.
 
----
 
Potrebbe farsi assistere da Berlusconi ahahahah 
 

 "ClaPos" ha scritto nel messaggio news:8sogl9pcn5p4sui26...@4ax.com... On Wed, 23 Apr 2014 14:41:35 +0200, "The Cayman" <mar...@libero.invalid> wrote: > > >"padania libera" ha scritto nel messaggio >news:201404221...@mynewsgate.net... > >E' STANCO DI ESSERE SVILLANEGGIATO >E COME TESTIMONE AVRA' NIENTEMENO CHE ANNA NAPPI >E CON ESSA TUTTA LA BANDA DI FROCI INCALLITI DI QUESTO NG. ADERENTI AL >PCI. > >........................................................................ > > >Qui non ci vogliono gli avvocati ma persone vestite di bianco :-) Dotto' Tarocco fatti ricoverare al Cottolengo. ---- Potrebbe farsi assistere da Berlusconi ahahahah
 
Questa è un idea! Potrei fingere di stare male e pisciargli addsso.... per vendicare tutti gli Italiani che ha derubato e anche quegli idioti plagiati che lo hanno votato, protosuchi compresi.;-))))


Berlusconi non va mica nei manicomi. Gli schizofrenici paranoidi maniaci come il
vecchio cinemonnezzaro megalomane fallitoDotto' Tarocco hanno bisogno di
assistenza psichiatrica e di docce fredde.


Ciao Ernesto!! So great to get this interview with you! Can you please elaborate a bit on how it all started for you?
All began with a meeting with Peppo Sacchi, the founder  of TeleBiella.  He was shooting a film in 16 mm. "COWBOY STORY" then in 1954 won the award for the film the most festive spectacular at Montecatini Festival.  In just one night, walking among snows of Biella's winter, he told me a lot of things about cinema.
-You were one of the most prolific writers in Italy in the 60's and 70's. How fast did you write these scripts most of the time? Where did your inspiration come from? 
I was used to work at night, almost ever alone.  I spent more or less one month for a script.  I the script was a thriller I started with some murder and a lot of characters, then were the characters  to tell me who had been the murdered. ;-). Of course when I wrote scripts for Sergio Leone of for some important director thing went in a different way.
-You made one of your first movies, "Amanto del Vampiro" for Renato Polselli. Any memories of this director or opinion of his movies?
The right title is "L'Amante del Vampiro".  I wrote the script with Renato Polselli, sitting al fresco in a coffee bar in Roma, August 1959, 42 degrees. Then I was the assistant of Renato. Shooting this moving was very funny: the complete disorganization brought every day to comic incidents. Renato was a medium director but a bad screenwiter.
-You also worked on "La frusta e il corpo" in your early years which I think is one of Mario Bava's best movies! It's gothic horror/melodrama but also with a great mystery and a powerful twist. Do you have any memories of working with Mario Bava, did you visit his sets while filming was taking place, etc... ?
I remember Mario Bava, hi was a genius as photographer and special effects, but I've never been on the set. 
I was not used to go to the sets because I had no time for this. Tim Lucas wrote a wonderful big book in colors about the great Mario Bava, titled" ALL THE COLORS OF DARK" like the title of one of my scripts.
-"La frusta e il corpo" also had this sadomasochistic theme which re-appears in a lot of your later movies like "Lo Strano Vizio della Signora Wardh", etc... Was this personal interest or purely exploitative element?
The last thing you wrote.  I thought more interesting   the relationship between victims and perpetrators if the bond was not just the violence  ending in it self.
-Some of the most memorable entries in the gothic horror genre were often from you... Did you enjoy writing stories in this genre? 
Not particularly, but when you write a successful film producers want another ten equal.
Can you say a few words about the following movies and your relationship with the directors maybe? 
-Riccardo Freda's "L'orribile segreto del Dr. Hichcock" (Was this title/character's name your idea?)
-Antonio Margheriti's "I lunghi capelli della morte"
-Camillo Mastrocinque's "La cripta e l'incubo"
Riccardo Freda  was a very smart man.  He filmed  "L'orribile segreto del Dr. Hichcock"  in two weeks, with three cameras, which resumed at the same time different scenes, such as a chess champion playing a lot more games on the chessboard. He asked me  the permission to tear a dozen pages from the script, the ones that explained the mystery of the film. I told him "Of course, yes, but niobody will understand anything!"  "indeed! this is beautiful" answered.  and he was right.
Antonio Margheriti was a mine good friend, one of the most able directors to use little daily things to show alien worlds or what he wanted.  Last month his son Edoardo realized a good artistic movie "IL DISORDINE DEL CUORE".
Camillo Mastrocinque was too old fashion to shoot horror movies.  I had few contacts with him.
-Your first movie as director (as well as producer), is the seminal giallo, "Libido" which came years before the big giallo boom. Why start your directing career with a giallo? Was doing a film in the thriller genre a reply to a public demand back then or was it more a gamble? Were you at all influenced by Bava's "Sei Donne per l'Assassino" or "La ragazza che sapeva troppo"? 
No influence. I married an actress, Mara Maryl. We made a deal between us:  I'  direct just movies with her as a main character, and she recited just in movies that I was the director. Wonderful deal for a long marriage, but not for our careers. So, when Luciano Martino and Mino Loy were arguing about if it was better to come from  the screenwriting or from movie technique , I proposed a bet:  I was a screenwriter, I could write a little movie and direct it, to prove if was right Luciano or Mino...
This way I wrote LIBIDO and Mara Maryl was a main character.  the male main character was Giancarlo Giannini , in his debut.  The movie cost 26million of liras ( today 13.000 euros) and grossed more then  400 million of liras. Luciano Martino decided immediately to start with some other giallos. I wrote  "IL DOLCE CORPO DI DEBORAH" and then "COSI' DOLCE, COSI' PERVERSA".
-You've had a long working relationship with Luciano Martino and Sergio Martino. Can you say a few words about these two brothers and in your opinion why your association was so successful?
Both big friends. Unfortunately Luciano died one year ago. I wrote as ghostwriter for two years for Ugo Guerra, and I met Luciano. Then he married  Wandisa Guida, one of the mine mates at CSC. I started to write with him and then I wrote for him 30 movies, or more. Sergio began working as a producer, then I teach him something about screenwriting and the he become a very good director.
-You often cite "Les Diaboliques" as an influence for some of your gialli. It seems especially obvious in "Il dolce corpo di Deborah", "Cosi Dolce, Cosi Perversa" and "Lo Strano Vizio della Signora Wardh" or "Il tuo Vizio...". Post-Argento, you used some "serial killer" elements, but usually more as a red-herring or subplot... ("Lo Strano Vizio...", "Il Tuo Vizio...") Why is this kind of a conspiracy thriller plot more interesting to you? 
I was inspired by "Les Diaboliques" by Clouzot when I wrote LIBIDO. I needed a good plot but non too much expensive, with just 4 characters. I like surprise ending. I don't like the style of Argento's movies because it's illogical. For me a good giallo must not be cheated.
You often seem very critical of Dario Argento way of writing... Do you have a formula for writing giallo/mystery story that really works for you? Even your westerns usually had mystery plots and surprising twists ("Il Grande Duello", etc...) Any tips of on how to handle a twist ending correctly?
 
As I said before, often I began a giallo without knowing who was  the murderer.  At some point you have to pull the wires and conclude. So, how would had been a detective, I looked at what they have done and have been told and I tried to find out a logical killer. I hate directors or screenwriter that cheat the audience with illogical solutions. A good giallo  must allow the closer viewer to guess who is the bad guy or the bad woman.
-I noticed you often seem to decline Hitchcock being an influence in your giallo work although the plot twist in "La coda dello scorpione" for example reminds me a lot of Psycho. Where the main character focus switches in the middle of the film. I think this movie is still extremely effective to this day! Any comments or memories about it? 
Sorry, I don't remember  much about that movie but the twist of George Hilton. I liked to surprise the audience but sowing logical clues in the story.
-"Tutti i colori del buio" is very peculiar... Some crazy "satanic" twists and a fantastic element that is unusual compared to your other gialli. Any memories on working on this particular story? It seems a bit more Polanski-like. Was it an influence? 
Influence? I don't know.  That movie wanted to prove the non-existence of magic and bring the facts to the logic of explanations. Many have realized the opposite. I do not know why. If I may, the same thing happened with LA GRANDE BELLEZZA that Sorrentino shows to be no more in Rome and instead many have realized that Rome is the great beauty ...
-A lot of the giallo movies you've worked on were with Edwige Fenech. What's your opinion of this actress? 
A beautiful woman who likes too much take showers....
Were there some other actors/actresses you thought portrayed your scripts characters better than others and did you get the chance to meet many of them? Are there any who left a big impression on you?
Of course Henry Fonda, a the myth of my youth. Then Sophia Loren and Marcello Mastroianni and, of course my wife Mara Maryl. Very smart Giancarlo Giannini too. LIBIDO has been his first experience.
I liked a lot Alan Collins ( a good friend of mine, his true name was Luciano Pigozzi) and  the charming liar Tony Quinn.
Your films often contained a significant amount of sex and/or nudity. Was this something you added from personal tastes or was it simply a selling point during this time?
Usually this kind of scenes  were expanded by the directors.
-"I corpi presentano tracce di violenza carnale" a.k.a. "Torso" has one of the most breath-taking twist in a movie... It made me just out of my seat in excitement the first time I watched! Do you remember how the writing took place for this film? Is it important to structure a thriller movie around the plot twist?
In those times I was used to write a script every month. I had to invent stories and stories. I don't remember anything special in TORSO and in the other movies. Od course in giallos you have to put suspense and surprise.
-In the 70's, your giallo movies are noticeable by their extremely long titles. Such as "Perché quelle strane gocce di sangue sul corpo di Jennifer?" or "Il tuo vizio è una stanza chiusa e solo io ne ho la chiave". Where did this trend come from? Was it the producer's idea or your own? It seems the polar opposite approach to your first giallo, "Libido"!
LIBIDO was mine, the other ones were coming from producers or distributors.
-Was Sergio Martino supposed to direct "Perché quelle strane gocce di sangue sul corpo di Jennifer?" at first? This movie seemed like it would been fitting perfectly with his other movies...
Probably yes, but the directors were fairly interchangeable. Carnimeo was my classmate at CSC, good director who has had less opportunity than it deserved.
-In terms of crime, you wrote the story for probably Umberto Lenzi's best movie, "Milano Odia"... The character of Giulio Sacchi seems less one-dimensional than in a lot of Lenzi's other movies. I know Tomas Milian added a lot of his own dialogue and quirks to the role. How much of the character is yours and how much is Milian's?
Tomas Milias has been great! He doesn't  add lines to the script but  the movie is still enjoyable just for his performance. Two weeks ago the Luciano Martino's daughters  were thinking to make a remake of "MILANO ODIA"  , but   the genre cinema in Italy is dead.
-Another Lenzi movie you did was "Il cinico, l'infame, il violento", Merli and Milian share very little screentime together. Were you asked to write the movie in any special way so they didn't have to meet?
No. I think I wrote really few scenes in that movie.
I once tried to get an interview with Umberto Lenzi but he declined to say one word about you or your work (good or bad!). I thought that was kind of weird because one of the main things people like to know in interviews is how it was to work with a certain person. Did you have a good relationship with him when working on films? And what do you think of his movies? (please skip this question if you think it is too personal!)
Even Umberto Lenzi has been my classmate at CSC.  I know that he's sure I hate him but I do not know why. It's just funny. Maybe because somewhere I said that I preferred MILANO TREMA  by Sergio Martino at MILANO ODIA. Umberto has a bad temper and we never worked together. He has shot some of my scripts and nothing else.
-You also wrote "Milano Trema" for Sergio Martino again. You didn't write many more police movies besides those. What are your feelings about this genre?
"Milano TREMA" was born in a different way. Martin told me to invent the story that I wanted. My script was much more political but was censored by the distributor. And it has been the only film I was paid on percentages on receipts and one of the times that I have gained the most.
-I need to mention your spaghetti western work too. Your most known ones are "Il mio nome è Nessuno" (working with Sergio Leone) and "I giorni dell'ira". Any other westerns you worked on that you feel are underrated?
 
There is one: UNA RAGIONE PER VIVERE, E UNA PER MORIRE - it's a movie( 1972) directed by my close friend  Tonino Valerii,  acted by James Coburn, Bud Spencer  and  Telly Savalas.
Did you ever feel that any of your scripts were ruined by a film or completely disappointed by a final product? And if any which one/ones?
Many, but one was a real murder: THE GENIUS. The other one was STRADIVARI.
Is there one genre you loved working in more than another? What do you think are some of your own best works put onto film?
LA PUPA DEL GANGSTER, LA BATTAGLIA DI EL ALAMEIN, LIBIDO, IL MIO NOME  E' NESSUNO, I GIORNI DELL'IRA,  MILANO ODIA, MILANO TREMA,  LA FRUSTA E IL CORPO.
Of course there are great films from all eras including today but in my opinion the most imaginative and excellent went from the silent era and then into the 70's and early 80's. Why do you think cinema declined so badly after the 80s and still is declining today, is it simply the lack of a good writer or is a mix of things?  And I'd really like to know if there are any "cult" films you dislike that most people think are brilliant?
The killer of Italian commercial cinema has been SILVIO BERLUSONI.   He stole the national TV  frequencies corrupting Craxi (our premier in that time) and invaded the air with dozens free  movies a week.
I can't thank you enough for taking the time to answer these questions. Is there anything else you would like to mention? Are you still currently writing anything?
I just ended with my son Sciltian the Tarantelli's story, a great economist killed 30 years ago by the Red Brigades.
Regards.
 
Ernesto 
 
 

Ciao Ernesto!! So great to get this interview with you!
 
Aspettiamo sempre di vedere il Certificato in bollo della tua tanto millantata 
fantomatica Laurea stampato su carta filigranata con il sigillo di autenticit�, 
con l'elenco con voti e date degli esami tra i quali i 20 esami che avresti dato
in 18 mesi per conseguire la singolare Laurea in Economia e Commercio ottenuta 
con la tesi LIBIDO.
 
 
IL MAESTRO DEL CINEMA MONNEZZA, MAESTRO DI VITA E TUTORE DELLA MORALE
=====================================================================
 
Degenerato che filma la moglie nuda e mentre viene trombata in serie e 
si invaghisce di uno dei coatti che l'hanno trombata e si fa una nottata 
di passione con un boro nella camera matrimoniale mentre il marito 
passeggia nella cucina al piano sottostante.
 
Solo un pervertito degenerato fa filmacci di famiglia di questo genere 
con la moglie firmataria del manifesto per i froci:
 
http://mondoqueer.tripod.com/ComunicatiStampa/5865CODS01.html
 
 
eMule>Qualsiasi>cerca:  Cinema monnezza
 
e si trova il tuo cinema monezza e le foto delle indecenti scene con 
tua moglie nuda e quelle mentre veniva trombata in serie da altri 
bori come te.
 
Bella roba per chi come te � privo di statura morale e ardisce 
esibirsi come tutore della morale e Maestro di vita .... 
 
Del resto un Cul Cul Clan che cosa altro avrebbe potuto concepire?
 
La misura del tuo insuccesso che ti fa schiattare di invidia e bile � 
data dalle tue dichiarazioni dei redditi da morto di fame:
 
eMule>Qualsiasi>cerca: Cinema monnezza 
 
Ci sono anche le dichiarazione dei redditi
Agenzia entrate Roma 2005.zip - si trova anche come .zipx e .txt
 
Buffone paranoico maniaco megalomane fallito mendace tuttologo 
millantatore:
 
ERNESTO:-25/8/99 Mmmmiliardi amico mio, mmmmiliardi! Guadagnati, 
sempre dopo mezzanotte,con la sola arte dello scrivere! Pensa, una 
macchinetta da scrivere, un nastruccio e una risma di extra strong, un
pacchetto di sigarette, un wisketto e un bella ragazza (poi ella 
moglie...) e la risma bianca mmmmmliardi diventava, mmmmiliardi. Alla 
faccia di quei kkkkolleoni senza alcun talento che si sono lasciati 
schiavizzare sotto padrone per 8 o pi� ore al giorno per tutta la vita,
minchia!
 
-27/4/2002 Solo gli STRONZI o i ricattati dai padroni lavorano.
 
-17/6/2001 Pensa come sono stato bravo: ho venduto copioni spazzatura 
anche per UN MILIARDO l'uno! Non male eh? E dovresti vedere i soldi 
che mi dava Sergio Leone affinch� gli scrivessi spazzatura per i film che 
produceva.... una favola! E.
 
[Bravo Kompagno !  Miliardi, valanghe di titoli in borsa, obbligazioni 
al 10-1/8%, vacanze abituali nella propriet� alle Hawaii, Yacht a due 
alberi, ecc. ecc. e casa acquistata dichiarando un prezzo inferiore 
falso per 'risparmiare' imposte di registro e catastali.  
 
Che dire ?  ]
 
-8/9/2000 Una sola notazione: a volte,  per quello che scrivo, produttori
di film mi danno un milione a pagina. A te quanto danno?
 
Vecchio delirante malato di mente, fatti curare.


Indro Montanelli, grande liberale di destra, nel 1994 profetizzò: "L'Italia di Berlusconi finirà male, malissimo, affonderà nella corruzione e nella vergogna e sarà inutile avere avuto ragione!"
 
Abbiamo avuto ragione, l'abbiamo spiegato, rispiegato, ossessivamente ripetuto ma è stato inutile: la sanguisuga Berlusconi intanto ha mandato in coma l'Italia: laide cimici infestano ancora il copro immobile tentando le ultime succhiate, mentre branchetti di iene e sciacalli intorno applaudono: si firmano Salvini, l'immorale, Testa di Clapos, Delta 00, ElTerun, morphano e si agitano.
 
La sanguisuga Berlusconi si torce a terra, ancora viva nel disperato tentativo si riattaccarsi alle vene delle caviglie dell'Italia: bisogna schiacciarlo con un colpo di tacco, come fece la Vergine col serpente. Cimici e iene si allontaneranno.
 
e