September 3, 2020

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One of the undying of images 1960s pop culture must be the marvellous pink Rolls Royce FAB 1, and its owner, Lady Penelope Creighton-Ward from Thunderbirds. You had the hero, the brilliant one, the boss, the woman. Gerry and I were setting up UFO. “In the beginning I was working in a male-dominated team, so there was resistance against her. I had done stuff like that when we made commercials, it was my side of the business. I wrote the opening episode of that and then put together a strong writing team to carry the show, but I left before the second series went into production.”, Does it surprise Sylvia Anderson that Stingray and all its successors are still being enjoyed on video or on tv reruns? When I saw the puppet of Captain Scarlet, I thought this was going to be the series, because the character was beautifully made, perfectly proportioned and I thought the whole show would overtake Thunderbirds. “, I liked those costumes. They were wooden and certainly weren’t my choice at all. Even now, with all the videos and interest. One friend said he couldn’t give us any work directly but that he would introduce us the Lew Grade. It was all rather mechanical. I sat one day in my office with one on, people coming in and out all the time, and no one said a thing! Once the characters were created, given a look, you could see how they were going to go and quite soon I could say to the rest of the team ‘Look, Scott’s got to do this’ and ‘Hey, Scott really ought to do that!’. They had been very popular in Mission: Impossible, but were totally wrong for Space:1999. TIMESCREEN INTERVIEW Sylvia’s Interview in Time Screen magazine #18, Spring 1992 Throughout the 1960s Sylvia Anderson was a key member of one of British television’s most inventive and internationally successful production companies. (Too many years ago!) That worked well and so Scott and Alan became the most popular. But Thunderbirds was not the start of the story… “I saw an advert to be a Girl Friday for a small film company and jumped at the opportunity. Listen to the broadcast here: http://www.bbc.co.uk/programmes/p01l8bnm. “The puppets for Captain Scarlet were the best we ever did. There are so many different aspects to that, we kept an eye on things like accuracy of costumes. There was even a magazine devoted to her called Lady Penelope in which I did a column called ‘Lady Penelope Investigates…’ which gave me a chance to get out of the studio and meet all the famous people I ever wanted to meet, like Roger Moore! One day we had a visit from a lady who had written some children’s books and was hawking them around to see who could give her a decent, in other words cheap, quote to do them as a puppet show. The stuff dredged up today is so awful that I’m not surprised all our older stuff is popular again. We created lots of great characters, Tex the Sheriff, the Mexican baddies, Dan Morse the Telegraphist and on the strength of that we moved into a warehouse on the Slough Trading Estate. It would have looked like I was trying to hog the whole show, but in retrospect it might have been a very good idea. I did lots of weird voices and accents for the shows, although I wrote myself out of a main part in Stingray, but I directed the dialogue so it was quite easy to add odd voices when necessary.” Nearly every Anderson series has an organisation in which the lead characters work. “After that we made Torchy for the same lady, we began to think we could do these puppet things in a more sophisticated way and do our own ideas and stories. But probably in another format, perhaps not as well as being heavily involved on the jobs we were at. A brief appearance dancing at a party or something Alan became the successful! 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