My last two movies ended with cries: "COOL" with Loula’s cry of rage in the song "A Broken Wing" and in the docudrama "ARTHERAPY" with Andreas's desperate cry in his soliloquy from "Dying As A Country," directed by Michail Marmarinos. Those screams may have presaged the evil, but they were not "anti-memorandum" exclamations, since even as late as 2009, when we said "memorandum" we meant a business or clerical memo. The only exception might have been Kissinger's "memorandum" of mutual understanding with the colonels' junta. When I started writing "Sirens on the Rocks" the collapse of the country had become a certainty, so though I am by nature pessimistic I tried to create an optimistic drama. The characters of "SIRENS IN THE AEGEAN" seemed ideal, because while their social evolution was pretty much predetermined, they allowed me to set up the positive and negative excesses that they would need to deal with the deteriorating situation. So the "life coach" urges the cabinet to finally take on its responsibilities, the nascent politician exceeds the scope of her duties to stop the deportation of an underage immigrant, the aesthete councilman leads a campaign for the rights of immigrants, the hacker blackmailer uploads for free the list of depositors in the Swiss UBS Bank, and the Cretan innovator will wait for enabling legislation before developing his exports and at the end he proposes that we learn to "eat barley rusks with tomato and goat cheese, which might help us get back on our feet".