great interest was in play in Argentina or Latin America, it was more of a rejection position towards fascism just as much as communism. In 1934, Manzi founded Micrófono ("Microphone") magazine which covered subjects related to radiotelephony, Argentine movies and film making. He wrote the screenplay for Nobleza Gaucha in 1937 in collaboration with Hugo Mac Dougall, and a remake of Huella ("Footprint") (1940), for which they received second prize from Buenos Aires City Hall and also Confesión ("Confession") (1940), without achieving commercial success with any of these movies. In 1940 Manzi started what would be a long collaboration with Ulyses Petit de Murat, writing the screenplay for Con el dedo en el gatillo ("Finger on the trigger") (1940) and later Fortín alto ("High Fort") (1940). Ulyses Petit de Murat Ulyses Petit de Murat was born in Buenos Aires on January 28, 1907 and was interested in literature and journalism from a young age. He was in charge of the music page in the daily magazine Crítica and, with Jorge Luis Borges, co-directed its literary supplement. In 1932 he moved to the motion film section of Crítica and in 1939 wrote his first cinematographic script for the movie Prisioneros de la Tierra, an adaptation of four tales of Horacio Quiroga, made with his son, Dario Quiroga, who later in 1940 wrote Con el Dedo en el Gatillo, with the collaboration of Homero Manzi. The screenwriters started by selecting the stories that would provide them with the elements for the work. Dianas was chosen as the main source, some characters were taken from Alertas and some from other stories. They compiled the words, traditions, life styles and idioms from that era for which they used books and even a trip was made to Salta to talk with the locals. A script Then a text was made from the tales and a first draft of the images. At this point the director and actors collaborated with their comments and finally the final script was written. Direction Born July 14, 1907 Demare was a music scholar. In 1928, he traveled to Spain as a bandoneón player for the Orchestra Típica Argentina, where his brother Lucio also played. In 1933 he worked as an interpreter and singer for Spanish movies Boliche and Aves sin rumbo. Demare quit the orchestra and started working in the film industry; he quickly rose from chalkboard holder to director