Robin Williams RIP


When I began teaching, people called me Robin and began to say “Nanu nannu” in class. I had no idea what they were on about until I saw “Dead Poet’s society” which was quite shocking. It was like looking in a mirror. Both the actor and the story were horribly familiar. Already, I had asked students to stand on their desk to see things from a different perspective, so I knew in an instant, as I watched that film, that my teaching career would be brief and that I was somehow linked to this bewitching man called Robin Williams.

animator awakening

As an animator, spending hours at my desk, there are times when I feel I am walking off the set of “Awakenings”. Also, on animation- the Genie in Aladdin. While this character and the film owe so much to Richard Williams earlier work on “the Thief and the Cobbler”, the Robin Williams voice allowed for a huge range of activity on screen. Often an animator tries to mimic the actions and moves of the actor providing the voice, but in this case Eric Goldberg notes that Williams tended to be fairly static when recording, so what we see on film is a representation of the zany spirit that must have been in Williams’ head. The face is a loose caricature of  Williams nevertheless.

Now, back to my story. In 2004, some twenty years after my adopted mother died, I finally located my “birth-mother”, a woman with the improbably Dickensian name of “Cobbledick”. She had been to a supermarket in Derby around Christmas-time and had bought some flour there that in her words “was riddled with mites”. She had put the flour in her kitchen cupboard and later, opening the cupboard, she found the insects had spread. “I could not go into the kitchen without weeping. The flour decimated Christmas.”

mother and the mitesa

Once we read this story on the internet, we knew that we had found my birth-mother- a lady of remarkable theatricality. We learnt perhaps too late that she was also someone who was sadly malicious, deceptive and divisive. She seemed to take pleasure in dumping each of her many children often in a particularly cruel way and those I made contact with remain quite bruised by the experience. I was lucky, I think, to have been adopted. She visited us on a few occasions, intending to stay for a couple of days but lingering for a week or more each time. On one occasion she turned up unannounced having had a tiff with her 5th or 6th husband who she claimed on and off to have divorced or lost. She claimed that he was beating her, but he was the one with the bruises. And he was there till the end.


At some point in the 1960s, I discovered that she had been prosecuted for bigamy. I simply did not think that sort of thing happened, but it is all over the bits of my family tree I could piece together. My grandfather fought in the Somme, survived and returned to a wife in Ireland, and another one in Manchester, never letting on that there was a third thriving somewhere in Paris. With a family like this, is it little wonder I still think there may be a direct link to Robin Williams? In the end, while I was recovering from a botched appendectomy arising from haemophilia complications, one of the few things my mother must have given to me- she went away and we never saw her again. She died a few years ago. Ironically she died on a day while I was filming the Edward Lear film in Albania and discussing my bizarre family with some Albanians. They could not get round the idea that she had given birth to 9 children and abandoned them all. She might have been an appalling mother but she was a great yarn!

animator awakening 2

I was one of three children born during a relationship she had with a man called Erik Williams- there is the Robin connection (I know it took a few paragraphs to get there)! I think my parents had eloped from Ireland or something. Although my mother claimed to know the addresses of my two siblings, she never let on and took the information to her grave. All I know is that Ronald joined the Navy, served in Malta and married a Maltese girl. I know next to nothing about my sister except that she spent time in Nottingham.

Anyway, that is the peculiarity. After being identified as a Robin Williams’ lookalike in school, I found that my real family was also called Williams. How strange is that!It is odd that two of the men I have come most admire over the years, Robin Williams and the animator Richard Williams should both share the name of my birth parents! We look for connections in life but frankly they do not need to be biological. Whether there is any real link between me and Robin, therefore, I cannot tell. But today, learning that Robin Williams had died and apparently had killed himself, I feel quite bereft. It is like loosing a member of the family!

There are many sweet stories appearing about Robin. Some of the nicest are linked to the help he gave to Christopher Reeve after he fell off his horse. Williams turned up in hospital pretending to be Russian (he had perfected a Russian accent for “Moscow on the Hudson”) and offering  an anal probe. It made Reeve laugh at a time when he thought there was really no point in going on. More than that, Williams covered his medical expenses. Here is some of that story from a news report and interview with Chris Reeve:


It is awful to read stories of his fears of bankruptcy and of the details of his death. More awful perhaps are the tales of bile and prejudice that have come out from people who should know better or who should shut up – suicide is an illness and often a terminal one. It is something that calls out for greater care from friends, medical professionals and the wider public, particularly of those who survive a suicide bid and those who are left behind when the attempt is, as here, evidently successul. Poor Robin.

Here is a picture in his memory. Such a gifted man and a kind man too.

soviet memorial

treptower 1

I had asked Nick Jenkins what I should draw in Berlin and he suggested Treptower park. I had no idea what he was talking about and what I found there was quite stunning. A perfect piece of Soviet art  designed to an overall scheme by Yakov Belopolsky and one of the most tranquil of all memorials I have ever visited. Here is a page of sketches and more will follow when I get the scanner to perform correctly. It commemorates the many soviet soldiers who died in the battle of Berlin. The main focus of the monument is a 12 metre tall sculpture by Yeygeny Vuchetich (top right) and what I called a “station” at bottom right after the “14 Stations of the cross” in Catholic Churches is actually one of 16 “sarcophogi”, each one inscribed in either German or Russian with words of Stalin and showing military scenes. There are no bodies in the sarcophagi but 5000 bodies buried somewhere around the monument. The soldier on the top left is kneeling next to a granite soviet flag and the figure at the bottom left of the page is the motherland weeping for her fallen soldiers.

Putin has been to the memorial and laid a wreath here.


Jerome Hoencamp Vodafone UK

What a ghastly organisation vodafone is! It is the 2nd largest mobile phone provider in the world with nearly 20 million customers. Can they all be dissatisfied? I have caught them out lying twice now and in the process of trying to cancel my account, they have produced all manner of evasion and bureaucratic subterfuge. At some later stage I will write about the story in detail I think, but for now, here is a picture of their venerable CEO, a man called Jerome Hoencamp, a man imported from Holland via Ireland to run the British Branch of Vodafone. Their slogan is “Power to you”. Somehow, I fancy they do not like to part with the power they already possess so the slogan remains exactly that- a slogan and something divorced from reality.



in a slightly obscure shopping centre in the North of Berlin, there is an exhibition of sculpture. The images are all angels and they are quite striking. I did some drawings, (apologies for the frog: it was in the window of a shop selling spectacles) but it also made me think about the subject of “angels” itself. The “hierarchy of angels” is quite confusing and the angelic image -a man with wings, appears in a variety of religions. It can be found for instance in Thangka paintings in Tibetan buddhism and may or may not relate to links between early Buddhism in Tibet and also an exiled gnostic sect that is supposed to have taken its icons with it across the Himalayas.

The subject is called “Angelology”. Zoroastrianism, perhaps the earliest religion to deal with angelic forms, calls spiritual entities taking messages”yatazata”. In mystical Judaism, there are ten levels of angels and Pseudo-Dionysios, ranks them in “Choirs”(the collective noun for many angels would be “choir”, then) in a Christian text “On the Celestial hierarchy”. Aquinas ranks them in 3 spheres. Islam puts them in 14 groups. In all systems, there are lesser angels and arch-angels. Orthodoxy thinks of 9 orders of angels.

In the system I am listing, I have excluded the Niphilim הנפילים, sometimes called Giants or the Sons of God, בְּנֵי הָֽאֱלֹהִים particularly in Job, 1:6 and 2:1, where the term refers to specifically to angels. The term “Nephilim” itself is used three times in the Bible, in Gen 6:4 – in the LXX translated as “the angels of God”,’οι αγγελοι του θεου, and Numbers 13:33. A similar word is used in Ezekiel to refer to the dead Philistines. The dead sea scrolls make it clear that the Nephilim were engaged in some sort of sex act with humans. It was the second time the angels fell from grace.

The Christian system looks like this:

Sphere 1:

seraphim שְׂרָפִים or σεραφείμ (after Isaiah 6: 1-7 who surround the throne of God and have 6 wings). These are the “burning ones, maybe originally pictured as snakes, δράκονες. In some literature, the throne of God is protected by heavenly serpents, the phoenix and the bronze hydra, the Chalkydri, the elements of the sun. In the Nag Hammadi texts, the Seraphim are seen as dragons. It makes alot of Chinese mythology accessible, doesn’t it!

cherubim כְּרוּבִים (with 4 faces: ox, lion, man and eagle following the images of the 4 evangelists. They have a lion’s body with ox feet and 4 wings, Gen 3:24, Rev 4:6-8); this is the strange fellow illustrated below!

Thrones θρόνοι or Opanim (generally pictured in icons as wheels). They are linked to the chariot that takes Elijah to Heaven and referenced in Ezekiel 10:7


Sphere 2:

Dominions or Lords: kyriotetes κυριότητες (or “Hashmallim” led by Zadkiel- this is the 4th part of Maimonides’ Jewish ranking as well as effectively the 4th of the Christian ranking) This is referenced in Ezekiel 1:4 as fiery or “amber” beings. The modern word for electricity in Hebrew is Hashmal (חשמל) which had been used by Pinkus Rutenberg in 1923 to name the fledgling israeli electricity company in Palestine some years before the establishment of the State of Israel; the use of the word for “electricity” is either therefore from Pinkus or from an early Ivrit poet, Judah Lieb Gordon, but the word in Latin “electricus” simply meant “amber-like” as indeed did the word in Greek “ήλεκτρον”.

These angels control the nations of the earth and are visualised as winged humans, the typical angel image. They have orbs of light on the end of sceptres. St Athenagoras says that Angels are “set in command of the elements, the heavens, the world, and all within it” and St Gregory the New Theologian says: “Each of them has received under his control some particular part of the universe, or is attached to some particular thing or person in the world, as is known to Him Who arranges and orders all things, and all work towards one goal, by command of the Builder of all things”

Virtues or dynameis δυνάμεις (strengths) (ephesians 1:21)

Powers or Authorities (potestates or exousiai, ἐξουσίαι) (ephesians 3.10) -control history, the winged warriors (Satan may have been one of these)


Sphere 3:

Mostly messengers. This is the proper function of an angel and explains why he is depicted with wings like Hermes to carry messages from Heaven to earth. This is why we use the term Άγγελος which simply means “messenger”.

Principalities or rulers (archai ἀρχαὶ) They wear and crown and carry a sceptre. Their role is to carry orders and blessings to the world.

Archangels ἀρχάγγελος or רב־מלאך- the word is used twice in the New Testament: 1 Thess 4:16 and Jude 1:9. There are traditionally 7 archangels who are commemorated together on 8th/21st November in the Orthodox church – the feast of the Synaxis, Σύναξις of angels: Michael and Gabriel get mentioned in the New Testament. Among the other archangels is Raphael (from the book of Tobit) and Uriel, אוּרִיאֵל (from the book of Enoch, 2nd book of Esdras/IV Esdras in the Vulgate and the Testament of Solomon). Traditionally, it is Uriel who rescues John the Baptist and his family from the massacre of the innocents by Herod and sends them to join the Holy family in exile in Egypt. This is the reunion that is shown in Leonardo da Vinci’s painting of “the Virgin of the Rocks” in the Louvre and it is the angel Uriel who is seated on the Right. In Hebrew and Greek thought, he is the angel who inspires poetry and is therefore often depicted with a scroll of parchment and in Milton, he guards the sun.

In the Revelation of Esdras a further five archangels are listed: Gabuthelon, Beburos, Zebuleon, Aker and Arphugitonos. Two issues, however, have affected the naming of archangels in the West. The first was in the council of Rome in 745, when Pope Zachary condemned any “obsession with angels” and tried to clarify the existing system saying that only angels mentioned in the formal canon of scripture should be revered by Christians. The second issue was the appearance and crushing of the Bulgarian heresy, Bogomilism, which flourished in the 11th century and appeared to use the angel Uriel in its services.

Other named angels:

Other named angels that fell out of favour with the West are Suriel, Jehoel, Zagagel, Akatriel, Metatron, Yefefiah, Nathanel, Raguel, Saraqâêl, Remiel and Phanuel who is also often identified as Uriel. Among the fallen angels are Samyaza, Adramelech and Azazel. There is also Azra who became an angel (pressumably Azriel) after finishing his life “without tasting death” (2 Esdras)

It is worth noting that seventh day adventists believe Michael the archangel is also Jesus.

Bringing the list of 9 orders to a close are ordinary Angels (Malakhim or ἄγγελοι) whose role is simply to deliver messages. These may also be the “guardian angels”. St John Chrysostom believed that there may be more orders of Angels- we have simply not been given enough information.

Angels in Islam:

Islam has a less ordered system but the function of the angels is broadly similar. They communicate messages and transmit power from the divine.

Of the named angels in Islam, the most important is Jibril/Jibrail who revealed the Koran to Mohammad. He is mentioned in the Koran (2.97)

Israfil is probably the same as Raphael. His job is to blow the trumpet on the last day (Qiyamah).

Mikail (Michael) is the angel of mercy, responsible for rain and the blessings we receive on earth.

Azrael (ʿIzrāʾīl عزرائيل orعزرایل) is the angel of Death. This is a variant of the Hebrew spelling Azriel who receives the prayers of the faithful when they reach heaven. Azriel figures importantly in Kabbalism (Zohar.2:202b)

Hafaza (the Guardian)

Munkar and Nakir who question the dead

Maalik who guards Jahannam (Hell)

Harut and Marut  (Sura 2: 102) who “tested people in babylon” to see whether they might believe in magic. This is very similar to the story of Jannes and Jambres in II Tim- these were the two magicians in the court of Pharoah rather brilliantly brought to life in the film “The Prince of Egypt” and played by Steve Martin and Martin Short. In the film, they are called Hotep and Huy. there is a link here. It is a stunning sequence:



In the Koran, there are many mentions of angels, and also of some specific groups with specific tasks:

Kiraman Katibin (the recorders)

Jundullah (warrior angels who help Mohammad on the battlefield)

Hamalat al’ Arsh– who carry the Throne of God

Darda’il (the travellers) who search for people who remember God

Zabaniah -19 angels who punish the dead in hell

Finally, there is Iblis or Shaytan is not a fallen angel but one of the jinn





Cartoon opera


Gilbert and Sullivan is about as cartoony you can get- though Offenbach comes very close. I think animation probably lends itself to music that has distinctive rhythms and an interesting orchestration. The words seem to me to be less important than what is happening musically. Though of course the words tell the story. When the Disney people were animating “Fantasia”, the better animators trawled the score to identify the incidental tunes that lay under the main melody. There is a sequence in the Chinese dance in the Nutcracker where Art Babbitt has talked about “those nasty little notes underneath”. But Babbitt uses those “nasty little notes”! It is precisely this fact that makes the sequence stick out as something remarkable. Culhane references this in his book on Fantasia. It is worth looking at the dance in detail because the perspective goes all over the place and it still seems logical. In the same way, the instruments used to orchestrate a particular sequence will dictate a particular image.

Eric Goldberg animates on the beat and repeats a rhythm with the Carnival of the animals in FANTASIA 200o and Andreas Deja does it too in the same film with the barrel organ in Rhapsody in Blue. But I think Babbitt’s mushrooms still have the edge precisely because they take note of the intricacies of the orchestration and the repeated visuals (a visual ostinato) are not necessarily based on something obvious…

You can find a link to it here: (the interesting points are at.46 and the bow at the end)

and here is the flamingo scene by Goldberg:

I was playing around with the Three Little Maids from School piece at the beginning of the MIKADO.

This is the text: “Three little maids from school are we,Pert as a schoolgirl well can be,Filled to the brim with girlish glee–Three little maids from school.” David Watson has done a very clever arrangement.

I will post more on this shortly because it is an excellent example of a tune that does a great deal. The three voices (Yum yum, Pitti Sing and Peep Bo) are quite distinctive and the whole thing gallops along at quite a pace. Here are some sketches mostly of Japanese hair-styles…

3 little maids
Below is a page from the notebook on Trial by Jury the storyboards for which move slowly forwards…

trial by jury

Here in order of development: the first thoughts:

and a more restrained version (music arranged by David Watson, Kanon)


3a 4 5 6 7 8 1 2

Screen shot 2015-06-10 at 12.15.45

A tribute to Melina Mercouri


Μελίνα Μερκούρη (amaelia) made her name in the west with “Never on a Sunday” and “Topkapi” but she was also a staunch campaigner against the Greek military Junta in 67-74 ending up as an MP in the Greek Parliament and the PASOK minister for culture. Her statue, or rather her bust, is at the entrance to Plaka, opposite the temple of Zeus in Athens. It is an odd piece of work and I drew it a while ago. I am afraid the notebook is now overwritten with things about Victorian poetry but the statue comes out fairly well.

The “Elgin” Marbles

During her campaign for the return of the Elgin Marbles, all captured on the evening TV news, unfortunately, she began weeping in the wrong part of the British museum and needed to be guided to the Duveen gallery where she wept again with passion to protest at the theft of these great pieces of Greek Art. Elgin acquired the marbles between 1799 and 1805 from the Ottomans who were, at the time, in  overall control. It can be argued that the Ottomans, though legally in possession of Greece, could therefore sell the sculptures to whoever wanted to buy them. However, the moral case is less clear: the Ottomans twice used the Acropolis as a weapons depot and twice saw bits of the monument blown sky-high, once in 1687 and then again during the war of independence when, to stop the Ottomans’ further destruction of the site, and their attempt to take the iron from the columns to melt into bullets, the Greek armies offered to give them ammunition. The whole Acropolis, frankly, was in danger of destruction as the war inched towards the capital and Elgin can be seen as the saviour, rescuing great art from the jaws of bellicose chaos.

Elgin’s plans:

Thomas Bruce, the 7th Lord Elgin planned for the marbles to undergo extensive restoration but the Italian sculptor Antonio Canova refused to do the work. Elgin’s return journey was disastrous. He found himself repeatedly arrested by Napoleon as he tried to get back home. Some of the marbles sank near the Greek island of Cythera on the voyage back to Scotland.  The rest were later bought by the British parliament from Elgin in 1816 and presented to the British Museum under the particular Parliamentary directive of the Local and Personal Acts 56 George III c.99 of 1816.. Other museums with bits of the Acropolis include: The Louvre, Copenhagen National Museum, Wurzburg museum, the Vatican, The Kunsthistorisches Museum in Vienna and the Glyptothek in Munich. The marbles in the British Museum are held under an act of Parliament from 1963  (the British Museum Act) which prevents the museum from permanently loaning any objects that are unique or that are not considered “unfit to be retained and can be disposed of without detriment to the interests of students”. The debate about the sculptures is ongoing and fairly heated, but I think the fact that there are other pieces elsewhere weakens the British claim to be housing the marbles in a way that guarantees access and comparison with other works. While other museums retain pieces, though, the argument by Athens for repatriation is also weakened. A loan would be reasonable, but I think the intensity of feeling about repatriation means that it would never be a temporary loan and so would be illegal under the terms of the 1963 act. The Elgin collection is more than just the Parthenon marbles- there is a large scarab beetle from Istanbul and some Egyptian stuff as well as some bronze tableware and jewellery. Duveen was an antique dealer involved in a dispute about “La Bella Ferronniere” and a number of fakes in his collection. The Duveen Gallery was designed by the american architect John Russell Pope. Much of Duveen’s work was about selling fine art to America and his trade forms the core of the great American Museums’ various art collections.

It is very unclear why Elgin was granted the firman that allowed him to take the marbles in the first place. The general understanding is that this was a personal mark of gratitude by the Ottoman representative in Athens for Elgin’s help in the Ottoman war against the French that had been going on in Egypt. In fact, two such permissions were granted. The first in 1800 and the second to  Sir Robert Adair in 1810. As a rule, the focus tends to be on the first firman which survives only in an italian copy and which has been argued particularly by a professor in Crete not to be a firman at all. It was this firman, after all that formed the basis of Parliamentary approval to buy the marbles, though they not only did not have the original Turkish Firman; they did not even have the italian copy. They simply had an english translation that the Rev. Philip Hunt insisted was genuine. It is not at all clear which of the three documents was signet by Seged Abdullah Kaimacan.  Much of the debate in parliament, anyway, was about whether the marbles were genuine or simply Roman copies of the originals. An english writer claimed at the time that an Ottoman official tried in vain to stop Elgin from taking the marbles.


byron and keats

There were protests about the sale of the marbles from the very beginning. Here is an extract from ‘Childe Harold’s Pilgrimage’. There was also “the Curse of Minerva” which was never intended for publication in the UK. Keats, however, also writes about the marbles but only after seeing them in London and while he writes two poems specifically about the marbles, their inspiration leads to the Ode on a Grecian Urn and his idea about “truth and beauty”. I think he must have approved of the sale as did Goethe. When Goethe saw the marbles in London he claimed ‘the beginning of a new age for Great Art’. Certainly the marbles were deeply inspiring.

Cleaning the Marbles

There was the original method of severing the frieze from the walls of the Acropolis itself. The architect hired by Elgin for this task, an Italian man called Lusieri, confessed, “I was obliged to be a little barbarous”. But the most worrying bit of the Elgin/Parthenon marbles story is the cleaning of the frieze in 1938 in preparation for the move in London from the Elgin gallery to the newly-built Duveen. Over a period of 15 months, copper chisels and carborundum were applied to the sculptures to clean them. The man in charge, F.N. Pryce and his assistant, Roger Hinks, both of whom promptly resigned, seemed to think that the appropriate colour for the marbles was white and, therefore, they made an effort to get rid of the yellow/brown patina. The story did not come to light until 1950 when an Italian, Cesare Brandi, published a critical report about cleaning Classical pieces in general. Later, in 1984, the diaries of Roger Hinks were published detailing the cleaning process and, in the same year, the Greek government renewed a demand first made by Hugh Hammersley in 1816 for the repatriation of the marbles through UNESCO. The request was formally rejected by the British Government in 1984, and further demands were made in 1985 and 1997. It remains the position of the British Government (as stated by Tony Blair in To Vima in March 2001) that the marbles should remain in London and should be accessed by the public free of charge. There is a detailed account in Christopher Hitchens’ book The ElginMarbles – should they be returned to Greece? (1987). A later book, Lord Elgin & the Marbles (1998) by William St Clair makes use of restricted papers about the Hinks/Pryce cleanup which led to a conference in November 1999.

Now, all of this sounds fairly catastrophic until placed in context because the Greeks used a similar cleaning process on the Hephaisteion in 1953. In addition, the Athens pollution has seriously damaged the existing sculptures: Olga Palagia writes in The Pediments of the Parthenon (Brill Leiden, 1993) that, when sculptures from the west pediment were removed in 1977,  “the industrial pollution of modern Athens had wreaked havoc upon their delicate surface”. A paper by I Jenkins (Cleaning and Controversy) deals with the whole sorry subject.

There have been two modern Greek positions on the marbles and that is unfortunate. The first was a suggestion of a joint and permanent exhibition in Athens. This would have recognised the moral authority of the original sale to Elgin while allowing that the marbles might be better viewed in the context of their original setting in Athens. The second was a demand for the return of the looted property of the State. Anything else would, said Antonis Samaras for the Greek government in 2009, “condone the snatching of the marbles and the monument’s carving-up 207 years ago.” This was an uncompromising and rather silly posture that effectively makes the repatriation of the marbles impossible in the near future, because any arrangement would imply that the British government in the early 19th Century was covering up a crime. The issue of the legality of the sale was in fact debated in the House of commons before the marbles were ever bought from Elgin. I think if there had only ever been a single Firman (permission) granted by the Ottomans, then the sale would not have been recognised as wholly legitimate. But there were two. Even so, Elgin demanded just over £70,000 and received only £35,000 from parliament. This was not a profitable venture and the acquisition of the marbles effectively bankrupted Elgin.

Many years later, on June 21st 2009, the new museum in Athens, designed by Bernard Tschumi, opened. The empty spaces along corridors housing the Parthenon frieze provide a reason and an urgency for reuniting all the various parthenon marbles, as indeed the museum’s initial director, Dimitrios Pandermalis, fully intended. the spaces in the exhibition amount to cultural blackmail, and it is effective.

The Future:

I think now, however, as the various personalities dig in (the British Museum’s director Neil MacGregor, would not countenance any return when the Athens’ museum finally opened), there remains only one course of action available. In the next few years, Britain should lend the Athens museum a piece of the Parthenon frieze and only when it is duly returned to the UK, will there be a general sense of reassurance about the legal ownership of the marbles. At that point, and it might take an act of parliament to arrange this with the present trustees of the Museum, a much bigger portion of the collection might then be packed off to be displayed in a semi-permanent format in Athens.

Our Film, Following Lear:

Anyway, Melina Mercouri’s character, Ilya, in “Never on a Sunday/ Ποτέ Την Κυριακή” is the basis of one of the animated characters we have devised for the Edward Lear Film – though in the song, she is married and has “lost” her husband. David Watson has written a sensational bit of music to the Lear Limerick about “an old man of Corfu” and Vassilisso Vasilinho wrote the very funny words in Greek. Katerina Tiropoli did the voice and Duncan Skinner did the english voice- he will be a “Bud Flannigan type”. Here are some initial drawings of the Melina Mercouri character..

melina 2

moleskin again new 1075

moleskin again new 1076

moleskin again new 1077

moleskin again new 1078