Lear wrote some many limericks that there is really no end to the number of crazy drawings possible. Here are a couple of pictures for the new film that are loose versions of what we are also trying to animate for the “Following Lear” project – when it gets properly or fully financed! In the meantime..
Oh and here is one I did yesterday with a picture of Stirling castle in the background. Sometimes, I rather miss the days when I was at St Andrews… Scotland is such a glorious country in all respects!
There is no real link between these two in reality but I love Arbuckle’s work – one of the great masters of silent cinema and treated appallingly by the early studios and by history. I think the shape of our Bertie and “Fatty” Arbuckle is similar. I need to make Bertie as agile frankly. Here is a drawing of a dance done by Arbuckle
and below is the progress reel for Bertie…
Regarding Arbuckle- there were plenty of other scandals that frankly were worse than anything he was involved in, and he was made the scapegoat for the industry at a time when moral crusaders, hot with the success of prohibition, had the “flickers” in its sights and probably planned to close hollywood. Arbuckle spent three weeks in gaol awaiting trial on a case that had been concocted by a woman known for racketeering, fraud, and extortion. Though acquitted of Murder after three trials, Arbuckle had admitted to possessing drink in a city that had a reputation for being fairly lax in applying the principles of Prohibition anyway. Under the Volstead Act, Arbuckle paid a small fine for the alcohol but I think that was sufficient in the end to damn him, and he was brought almost to bankruptcy by the legal expenses. Nominally innocent of the charge of murder, his films were, nevertheless, banned when he was credited by the Hollywood moguls as a man with “bad morals”, and less than a week after he was completely acquitted of murder in 1922, he was forbidden by Will H Hayes from working in cinema again. While he got round this and made a comeback of sorts in the 1930s, he died before he was able to fully realise his potential. This was a truly great performer and his treatment by the cinema industry was despicable.
Nasruddin was the figure in the Richard Williams film that I discovered in the early 70s. The film changed completely when it became the “Thief and the Cobbler” and the Nasruddin character disappeared. There are various stories about why this happened. Last Sunday Williams simply said that the original story and the original character did not work. Nasruddin, however, is still visible in a crowd scene riding on his donkey (which he rides backwards)… here are some drawings of statues in Turkey- one faintly comic and the other more respectful. He was a real character but he used humour and his stories are laced with unexpected incident and comment. however, Nasruddin turns up in Turkish legend as Nasreddin Hoja and then again in Albanian as Nastrudin Hoxha. I don’t know whether it is more appropriate to see Nasrudin as Turkish or Iranian: the oldest manuscript from 1571 suggests he was Turkish or active in Turkey. When we made the first version of “A torture Cartoon”, it made sense to add a version of Nasruddin because Necati is Turkish
and then later when we did “how to be Boss” we did a new design and told one of the many Nasruddin stories. You can find the sequence at about 2.39: “Have you told your wife who is boss in your own house? Don’t worry. She knows!”
There is a Pappas illustrated edition of stories which I would love to see. Otherwise, the best editions are those illustrated by Williams himself and the spectacular Errol le Cain