The ghastliness of RBS

moleskin university rbs

My heart sinks every time I realise I have to phone a call-centre. Today, I had two of these misery moments which extended much the way through the afternoon, and I was on the phone for about 4 hours in sum. I discovered, to begin with, that my mobile phone had stopped working. This is alarming because I rely on this strange object for work and for people who need to contact me. We live in a world where the home or business phone seems to be largely ignored and is the telephone of second choice for so many. (Not for me, incidentally: I find it so difficult trying to work out which end to press on the mobile and only recently had to abandon an iphone because it became too much to handle. And, you know, mobile phones with all the “swipe technology” fail to work completely in the rain. It is impossible to “swipe” anything then. I love buttons, knobs and dials. They are so more reliable) So, I called Virgin and finally discovered that my direct debit had not been paid and I had therefore been disconnected without notification. I have to add here that I am in the process of modifying my bank account in the RBS. It is what is called now a “partial transfer” because my last attempt at a bank switch was such a disaster I found unpaid bills for the next two or three months and netflix persecuted me for ages: I did not want this to happen again and was assured it would not. What I was not told was that over the course of three weeks, all my Direct Debits and Standing orders would go to the new account before any money was transferred. This frankly seems absurd. When I asked to speak to a manager, I was passed instead to another department which deals exclusively with “switching”. First I spoke to Sam who seemed earnest enough but did not have all the information to hand so I again asked for a manager. I shall not give her a name – after nearly an hour she agreed to transfer my money but began by insisting that the bank was within its rights to hold onto this cash until the end of June, and however much I asked for a date when she would transfer the money, she was unable to provide one. It seemed to me to be a matter of theft or embezzlement. I cannot see how a bank can possibly transfer bills to another account and retain the money that is supposed to be used to pay these bills. The story ends more positively because this lady eventually did the transfer herself and the new account now has money enough to deal with any further direct debits. It remains for me to chase up Southern Electricity, Petpal as well as the car insurance people to explain that they must present their Direct debit demands a second time. It is the mixture of arrogance and patronising tardiness of the RBS call centres that really annoys. It is summed up in the need for a series of increasingly infantile “security questions.” When I am left with unpaid bills and when it falls to me to chase after the companies that have not been paid and arrange payment through other channels, there is no security. When the RBS retains my money, there is no security. There is only the lingering whiff of corruption.

not another

Now there is a bit more to this story that happened today: I was called by a man called Ronak, a charming courteous man from Tanzania, who had empathy and common sense. Indeed, we talked about so many things and really he had nothing positive to tell me at all- but his manner was spectacular. He could have been calling me to announce my execution and I would have been delighted! Really, he should be giving lessons to some of the twits that made me want to leave RBS in the first place! Anyway, we spoke for what seemed to be 20 mins but was in fact an hour, and, in the process, he explained that I had been completely misled because, specifically, in the case of a “partial switch” from one bank account to another, the banking rules dictated that the bank simply moved the direct debits and standing orders. In other words, it was up to me to transfer the money from my current account whatever else I had been led to expect by the people managing the new account. This is certainly not something I had been told by anyone, either over the counter a few weeks ago or on the phone, and most importantly, the various people I spoke to yesterday at RBS did not seem to know that they were not expected to move my money at all- a serious omission that including the “manager” at the “switching” site. Instead, they were working on the understanding that they could retain this money for another two or three weeks and said as much. Had I left this matter to them, I suppose, then the money would never have been transferred; it seems there is no automatic system to follow and no paperwork available to manage this. There is a paper-system for transferring money from savings accounts but not from a current account. That paper request for the “savings account” I have now received. Ronak thinks I have received very poor service and I agree entirely. He also thinks I should contact the Ombudsman and my MP to ensure that more people look at this issue because I am not the only one caught in this mess. Of course the new switching system works very well generally and scores a 80-90% success rate but here is an instance of the bit where it fails. The automated banking switch is modelled on the automated mechanism for the energy providing switch, which allows us to quickly move from one gas, electricity or water supplier to another and boost competition, and therefore improve the general quality of the service. It assumes that a customer will move completely from one (energy) system to another. Sadly, there are instance where the switch needs only to be partial, and this is acknowledged in the banking rubric, but the process of following that switching mechanism is not at all clear and each department blames the other when it inevitably goes wrong. If, perhaps, banks were staffed by people like Ronak rather than some of the arrogant twits who answer phones, if managers in banks were there to help customers rather than- as I am told, in the RBS, their only responsibility is to to manage their counter-staff- then maybe high street banking would be a reputable service again. Instead, it is simply set to become as dodgy, if not more dodgy than some of the worst mobile phone companies. I despair!


University Education

moleskin university complaints

There is a man I would like to meet. His name is Dan Lever. I saw him on the TV this morning and he was almost unable to speak because of the blustering nonsense of his adversary, a rather nasty piece of work called Simon Renton. Of course, Renton may be a perfectly agreeable man but he he was there to explain why University teachers were coming in for so  much criticism. Instead, he tried to savage the present Government’s spending. Rather ridiculous as the rot really set in with the last Government and there has been a long steady decline in investment. A cannot imagine that Renton is a Conservative after this rant, but does he not realise that his socialist comrades look pretty feeble too? Dan Lever, in contrast, seems to be doing something about the problem and good on him! He has started a site called “Student hut” which aims to put students in touch with one another and to ensure as best he can that those who are new to university life are not completely abandoned. I have added a few comments to the sketchbook above which indicates what I think Renton should have said in response to the criticism of University teaching/tutoring. And a bad tutor may not necessarily be a bad researcher and vice-versa. there is room for the most appalling people on University staffs! It is just a matter of finding out where best to pl;ace them, but listening to student feedback is helpful and the Government does not have all the answers or indeed bear all the responsibility for the current mess.

Richard Williams

In 1972 I wrote to Richard Williams and was invited to visit his studio. I think I also sent him some artwork. It would have been about this time that a kind lady was also trying to arrange an exhibition for me I learnt recently, so I imagine I was doing fairly well as a little 11 year old draughtsman and impressing more people than I realised. Certainly, it took years to get back to the dynamism and accuracy of those early days partly because I was consistently bullied by the art teacher at school. I was called names by this man, had my work ripped up by him, and was consistently slapped down with words like “slick” and “easy” which I understood then to be criticisms but which today I would accept as some sort of defiant badge of honour. Anyway, this is not meant to be a whine, but more an excuse to think about what I got out of this process. The most important thing is some sort of resilience and determination to keep going whatever happens – that is useful for any animator as Williams testifies. Also, I think this is the source of my interest in teaching- the subject matters not a bit as long as I think I can master it before the lessons begin incidentally, but the desire to ensure that no child is treated as I was is fundamental. Many children are talented. We,as adults, need to harvest or harness those talents.Talent is not really like a plant. It may survive but it certainly does not thrive or grow if you throw alot of shit at it!

brigand poses

I had seen Williams on a childrens’ tv programme called “Clapperboard” and he was shown drawing one of the brigands laughing. I loved the way that the character moved as he laughed. It was subtle and in close-up, but there was clear movement and character. The laugh was something he had recorded himself and I believe, now, that the animation was loosely based on one of the imps in Sleeping beauty. But there is no disguising the mastery. The hand movement on this sequence as the brigand laughs is exquisite and I have looked at it in some detail- Williams draws hands like no one else. This character is now one of many brigands in the second half of the “Thief”.


The sequence is marked by a change from pen and ink outlines to wax pencil outlines that were used also on “Christmas Carol”. At the studio, I was given one of these pencils and some cel and told to draw something which I did, but I was very nervous and I found it difficult. The waxy pencil is easily smudged and is only  truly bonded with the cel when it is exposed to hot light under the camera. I should imagine though that the cameraman was forever cleaning the glass panel that holds the animation in place. I think I may have tried using some paint. I am not sure, but I got to use paint later on working for “Wicked Witch” in the late 1980s as they wound up work on “Roger Rabbit” and took on project after project that aped the animation/live action combo style, or simply tried to look computer-generated ( some of the Waterboard adverts that accompanied one of the waves of Thatcher privatisation, for instance which were all actually drawn in coloured pencils on cels that had been sprayed with a formula that made them sufficiently textured to accept the crayons. The same method was used in the Snowman, Father Christmas and the Beatrix Potter films at TVC)

charles II in Soho square

My trip to 13 Soho Square was a day that must have changed my life or at least given it proper direction: in the evening, so excited was I that I vomited with gusto on the train and over my mother’s handbag. I knew then, maybe from some kind of Rorschach test, that I had a vocation to draw animated films. I remember meeting the great man on the stairway in front of what must have been one of his own oil paintings. I draw no parallel at all between my vomit and his painting though I have no real memory of the visual content of either. His picture all looked very dark and grand to me. Animators upstairs flipped scenes that I think I knew even then were from the projected film of “Nasruddin”- I am pretty sure that I saw the thief bouncing from one canopy to another. that was also in the finished print we saw on Sunday. I had seen pirate versions of this on youtube and the australian DVD where it seemed a bit repetitive. In the NFI theatre, with a crowded audience, it looked wonderful. This is broad slapstick and it always needs an audience to get the most out of it!

Later, I went back to the studio a few times and had a delightful dinner with Richard Williams in which he compared computer people to madmen trying to sell crutches to people who have no difficulty walking. “But my crutch is gold plated” he said they would say. “Why walk when you can hobble with a crutch?” This was the infancy of Computer animation and within less than 10 years I myself would be involved for a brief period in the production of computer games animation. But he is right: there can be no short-cuts and nothing replaces the raw knowledge of being able to draw exactly what you can imagine in your head.

I was particularly keen for Necati to see “the Thief” in the best possible way. I have some publicity material the studio gave me by which time the name had changed from “The thief who never gave up” to “Once”.

During the talk after the screening, when a few odd people, one of whom I am afraid I have drawn above, hogged the microphone and went on and on (and on!) about pirate versions of the thief that they had seen on the internet (no one mentioned Gilchrist by name- why not? though Dick Williams urged him to get on with his own work instead of obsessing about “the thief”), Williams talked a bit about his current project,apparently based on “Lysistrata” and called “If I live”. When we met for Dinner in ’82 or ’83, he had been talking about an adaptation of the Epic of “Gilgamesh”- a story about  a babylonian Noah figure, and there is a creation account in “Gilgamesh” which lies behind the first creation story in the bible. It is more vivid and much more fun, certainly worthy of animation as indeed is Aristophanes’ “Lysistrata”. I will dig out my own animated versions of Aubrey Beardsley and maybe the (unpublished and scurrilous) comics based on Greek texts and post them on this new blog in time but I suspect Williams is doing his own thing with the Greek comedy and has moved some distance away from Beardsley. I moved from Beardsley too: it simply took up so much time! I would love to know what happened to Gilgamesh and what Williams’ “Gilgamesh” would have looked like and also I would like to know what role the laughing camel must have had in “Nasruddin”. There was alot of publicity about the camel but he makes a very brief appearance in “The thief”. Had the hogs stopped talking evasively about Gilchrist, then maybe I could have asked about Gilgamesh or the Camel. Now, we may never know!! I will write more on this subject another time. In the meantime, here are some sketches made on Sunday afternoon during and after the screening.