Best known for his futuristic television shows, the late great British publisher, producer, director and writer Gerry Anderson MBE was born 14 April in 1929 in Feltham Middlesex and was brought up in Neasden, north London, where the family shared a single room, but at the outbreak of war he was evacuated to Northamptonshire. He left Willesden county secondary school with ambitions of being a plasterer until he realised he was allergic to plaster. He started work as a trainee with Colonial Films and after National Service as a radio operator with the RAF worked as an assistant at Gainsborough Studios before co-founding Pentagon Films to make commercials in 1955. The following year, he moved into film production and formed AP Films (Named after partner Arthur Povis) in the hope of making a classic epic — but the opportunities were not forthcoming. Instead he reluctantly turned to making puppet series for television and produced 52 episodes of The Adventures of Twizzle, a project that led to Torchy The Battery Boy and Four Feather Falls, a Western series in which the puppets (unable to draw their guns) had to swivel their holsters to fire. These early efforts convinced Anderson of the potential of puppet series as an entertainment form, and his 1960 series Supercar was the first successful science-fiction format to reflect the growing interest among children in futuristic technology. He followed it with the more sophisticated Fireball XL5, 26 episodes featuring the hero Steve Zodiac, and timing it to coincide with increased interest in the “space race”. To give his characters more movement He also created a technique called Supermarionation using specially modified marionettes
In 1965 Anderson created Stingray, featuring the underwater exploits of Troy Tempest and his submarine, and the first of his series to be shot in colour. The series was also the first of Anderson’s to be sold to America. Anderson’s most successful and popular series Thunderbirds was elaborately produced and followed the adventures of the futuristic Tracy family who ran an air, space and undersea rescue service from a small island in the Pacific. Anderson remembered that his elder brother, Lionel, a pilot who was killed in the war, had trained in Arizona near Thunderbird Field, and helped himself to the “very exciting” name. As well as Jeff Tracy and his sons John, Scott, Virgil, Alan and Gordon (all named after early American astronauts), Thunderbirds also introduced some of Anderson’s most popular and enduring characters, including the myopic genius Brains, the glamorous secret agent Lady Penelope ( who was based on his second wife, Sylvia) and her chauffeur, an ex-alcoholic Cockney safecracker-made-good called Parker, whose distinctive way of speaking (“Yus, m’lady”) was apparently modelled on a waiter at a pub in Cookham where Anderson used to have his lunch.Although the television series caught the imagination of millions of young viewers, two feature-length film spin-offs, Thunderbirds Are Go and Thunderbirds 6, both failed to achieve the same popularity. More successful was Anderson’s venture into a tie-in weekly children’s comic, TV Century 21, launched in 1965 and containing strips based on his various television series.
In 1967 Anderson created a new series, Captain Scarlet, named after its indestructible hero, and the first to be made by Anderson’s new production company, Century 21. It was followed in 1968 by Joe 90, about a nine-year-old boy who gained expert knowledge on any subject using his uncle’s hi-tech mousetrap invention. Anderson’s next venture, The Secret Service, was his first and unsuccessful attempt to combine puppets with real actors and marked the start of a decline in the fortunes of his production company, Century 21.His first science-fiction feature film, Journey to the Far Side of the Sun, starred Ian Hendry and Patrick Wymark and coincided with Anderson’s first all-live action series for television called UFO which, although well produced, was a humourless affair which failed to make an impact on its first showing – while attracting considerable interest when it was repeated in 1987. In the 1970s Anderson persevered with live action series such as The Protectors, featuring a glamorous international crime-fighting agency starring Robert Vaughn and Nyree Dawn Porter, and Space 1999, a sub-Star Trek enterprise which was critically panned for its stereotyped characters and bland scripts. Stalled projects, misjudged investments and a property crash left Anderson in dire financial straits, and he endured a painful divorce from his second wife and former business partner, Sylvia.
Anderson returned to puppets in 1982 with Terrahawks, in which Dr Tiger Ninestein and the Terrahawks tried to stop the evil Zelda conquering the universe. The success of this series encouraged Anderson to attempt a new project called Space Police, but although a pilot was produced, financial backing never materialised and the series failed to get off the ground. Most of Anderson’s work in the 1980s was with television commercials, the most memorable perhaps being that for Scotch videotape featuring the “skeleton man”. Having sold the rights to his shows to the television tycoon Lord Grade in the 1970s, in 2008 he entered into talks with ITV to buy back the rights to Thunderbirds to remake it using computer-generated imagery. A live-action remake of Thunderbirds, co-produced by the British company Working Title and the American studio Universal was also released in the 2004. The highly anticipated remake of Thunderbirds finally aired Easter 2015 on ITV. In retirement he lived at Henley-on-Thames with his third wife, Mary, and took an active interest in his production enterprises and the extraordinary following his puppet series continued to attract. He was appointed MBE in 2001 and sadly passed away on December 26 2012 aged 83