When she was small, Hanim had a fairly major illness and took refuge in my dressing gown pocket. Now she is much older and a bit unstable, she has taken to snuggling into my cardigan. It is not always convenient. This evening, I was drawing some stuff for the FOLLOWING LEAR project, and, instead, ended up drawing Hanim. She has such intelligent eyes.
Some thoughts about our “Following Lear” programme. Here is a poster
Halkali Terrace, Tema, Istanbul
I have been drawing the opening sequence for my documentary about Edward Lear, “Following Lear”. Here is the latest version with some detail:
It is a complex scene featuring a swing in a music hall.
One of my early memories of watching black and white tv was of a girl on a swing in “the Good Old Days”. I think that swing was brought out on a number of occasions actually, and at least once, in the 25th Anniversay season, Les Dawson was strapped to it in drag. It was generally there for the song “Swing me just a little bit higher, Obadiah do”. It made a lyric loaded with innuendo seem homely and very jolly.
The music hall was full of daring routines and “the Good Old days” captured some of that spirit throwing acrobats and trapeze artistes directly into the auditorium. In the mid 19th Century, there was a craze for tightrope walking over the heads of the audience. Brilliant! I wonder how often there were accidents?
One of the early films made by Dame Joan Collins in 1955 was about Evelyn Nesbit Thaw, tied up in a messy muder trial and called “the Girl in the red velvet swing”. Of course, at a time when she was dazzling in BA and Cinzano adverts, she went on to make a slightly more scandalous film featuring an aquatic swing that arguably re-ignited her career, was based on a book by her sister Jackie, and somewhat incongruously, propelled her as staple fodder for family viewing in nearly a decade of “Dynasty”. What seemed very daring in the “Stud” and the “Bitch”, however, would today seem tame, and the thought of an A- grade star like Joan Collins getting involved in such stuff would no longer raise an eyebrow, particularly after Gielgud, Helen Mirren and O’Toole romped through “Caligula” at the end of the 80s.
I like the “Girl in the Red Velvet swing” though; it treats the subjects rather better than the subsequent film “Ragtime” which is both pedestrian and laboured. The publicity photos for La Collins, moreoever, are a treat. They are even better than the movie! Doesn’t she look radiant!
There is also a swing scene, though fairly modest in “the Boyfriend”, designed by Tony Walton and a great scene in an early Angela Lansbury film,”Till the Clouds roll by” .
I think I have now looked at almost all the swings in the movies!
The problem with swings is that every single frame represents a change in perspective- a nighmare for 2d drawing and I have had a few attempts so far. I am quietly pleased with the lastest effortwhich I will work on over the next month.
The music is by David Watson and the song is sung by Thomasin Tresize. If the spirit of the animation is a bit racy, I suppose that is to do with Joan Collins as much as with the hint of naughtiness that Tom suggests as she sings it!
I think it is meditative of course…. I tried to time the swing to the bars of music and it looks too premeditated- a bit like an early Mickey Mouse film. The idea of timing animation to hit the beat gave the whole screen animation/ music industry a very bad name, and it is bizarre that this was taking place at exactly the same time that Astaire was developing his technique of dancing OFF the beat. It’s when the dancer hits the beat at a specific moment that the magic happens. So the swinging motion is now independent of the beat (just).
Here’s the sequence partly storyboarded:
and here is an early sketch:
Ilir Meta, elected President in April. While elected by a majority, the Presidential election was marred by a continued effort on the part of the Opposition to disrupt the parliamentary process. That said, Meta was as much connected to the Democratic party as he was to the Socialists, and arguably, now he is out of the running for parliamentary jobs, he is no longer a serious opponent for Edi Rama.
Here is a view of the Ottoman bridge in Tirana:
I was asked to do some videos to help with phonetics in Moscow. Here are the first two:
I am just finishing the final sequences of a youtube treatment of the Lear Suite by DAVID WATSON. It should be ready in the next few days for posting!
Meanwhile, here is a recent review of Episode 2 of “British History’s Biggest Fibs”:
Columnist James Waller-Davies gives his view of some of the recent events on television. This column is the most read television column in the entire English speaking world. It’s true. Friendly Russian hackers have leaked the news from a Moldovan website and it’s important this information is shared with you. Yes, it’s ‘fake news’ season. The whole world is gazing, like Alice, into a topsy-turvy looking glass of the make believe. Orwell’s ‘doublespeak’ is topping the book charts again and nothing, it seems, is believable. It is nothing new according to British History’s Biggest Fibs with Lucy Worsley (BBC4). Worsley’s entertaining and informative revision of some the biggest myths of British history is a timely reminder that there’s nothing new about ‘fake news’ – the state, our state, has been up to it for centuries. This week’s topic was the Glorious Revolution of 1688, when Britons cheered the arrival of a new king and queen, William and Mary, from over the channel in what is now the Netherlands. But as Worsley reminds us, that’s a great big lie – it was, in fact, an armed invasion incited by a band of English traitors and an example of ‘fake new’, seventeenth century style. Worsley is a refreshing change to history programming, which in recent years has been overly dumbed down and ruined by soft focus re-enactments and mockumentary dramatisations. That’s not to say Worsley isn’t beyond a bit self-parody and fancy-dress herself, but she is a reminder that an expert, talking engagingly and enthusiastically can be entertaining enough.