TV21

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I first met Gerry Anderson before he was universally well known, and gained his international reputation for those brilliant puppet series, which he directed with such style and flair. On meeting him, one was soon aware of his natural ability as a Director, in spite of his quiet and very modest manner. At one time we worked very closely together on three unusual commercials for Blue Cars Travel, which he directed at his studios, A.P. Films, in Slough, and which became very successful both commercially and artistically. In fact, one of these commercials won the Grand prix Award at the first British Television Awards in 1961, which were then organised by "Television Mail".

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During the first day of Century 21, David Graham did an interview. Mid-way through, he was joined by surprise guest Shane Rimmer. Both recollected working on Anderson productions and beyond. Transcript and photos taken from video tape.

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Why did I start working with puppets? It's something that is within you. I never thought of going onto stage but it did come to me fairly quickly. I started off by working at a puppet theatre in Chiswick and the people working there: the woman was a wonderful operator and her husband a sculptor who was a brilliant puppet maker and I never worked such excellent puppets like that ever before or since.

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John Blundall worked on some of Gerry Anderson's earlier shows. Dave and Barry spoke to John, director of the Cannon Hill Puppet Theatre, Birmingham, at the theatre on the 26th of January, 1985.

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Australia was one of the biggest markets for the Thunderbirds, but our connection doesn't end there. We voiced them, shaped them and even owned them.

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On Friday 8th May 1998 the BBC hosted a live internet chat session with Gerry Anderson. This was a moderated chat, i.e. the questions were submitted during the session and selected by the moderator. The moderator then presents the questions to the guest.

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Interview from the December 1996 issue of SFX.

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Throughout the Nineteen-Sixties Sylvia Anderson was a key member of one of British television's most inventive and internationally successful production companies. But unlike her ex-husband and creative partner, Gerry Anderson , she has received little credit since then for her part in creating the company's unmistakable worlds of futuristic technology and space-age adventure.


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