Michel Van

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this hurt's
http://www.bbc.co.uk/news/uk-england-oxfordshire-20845407
So many Artist died this year
Moebius, Harry Harrison, Tony Scott and now Gerry Anderson


He enlighten my Childhood, with bright beautifully light.
He gave me wonderful dreams called: Stingray, Thunderbird, Captain Scarlet, Joe 90, Döppelganger, UFO, Space:1999, Terrahawk...


Thank you, mr Anderson for all this !




my deepest condolence to the Anderson Family
 
Gosh! Anderson was a genius.

And of course he would not quite have made it as big without the assistance of his wife, who participated actively in most of his projects.

I'm not sure there still exist visionaries in that field with that much originality and inventiveness. By today's standards, a Gerry Anderson would be rejected by the major studios or his work would be much modified to fit within the genre categories... Fortunately, it was Britain in the 1960s, not the U.S. today.

As a kid we only got Thunderbirds and Space:1999 in France, but these made such an impact on me... I can imagine the joy of growing up watching Joe 90, Captain Scarlet and UFO... only caught a glimpse of the wonder, but it wasn't too bad!
 
RIP, and thanks!

Between Thunderbirds, secret Mach 3 airplanes popping out of the woodwork, and the boundless promises of V/STOL, the 1960s were an inspiring time to grow up in.

Looking back, Anderson's creations seem quite reasonable...
 

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RIP and thanks!

Space 1999 was my fav TV show when I was 5 years old.
 
Both Gerry Anderson and Moebius in the same year is heartbreaking.

Gerry Anderson provided the imagery of my childhood and Moebius
provided visions for my teens/early adulthood. Both will be sorely missed.


R.I.P. Gerry.
 
Goodbye Gerry, and thanks for all those marvellous TV series (from supermarionination to live action), especially for Space 1999.
 
Gerry Anderson's work saw me through childhood and growing up. I was just old enough to catch Torchy the Battery Boy and Supercar. However, it was Fireball XL5 that has stayed with me all these years. The opening credits and scene at Space City where XL5 takes off with its jazzy soundtrack was just phenomenal for 1963 (it still hits a note see you tube). I followed the following series. Thunderbirds with its wonderful range of guest vehicles probably caught the mood of the mid 60s best. Fireflash and Zero X were biggers stars than the Thunderbirds machines.

Like all of us, Gerry Anderson had his downs as well as ups. He desperately wanted to work with human actors and did so from 1968 on. Sadly these shows show their age more than the puppet shows. The kit in Doppelganger, UFO and Space 1999 outshines the human element, despite the best efforts of some good actors. But there were also some good looking ladies for the adolescent UK 75. Gabrielle Drake, Jane Merrow, Judy Geeson and Lynne Frederick all put in an appearance..

Thanks Gerry and be seeing you with any luck
 
uk 75 said:
(...) Gabrielle Drake, Jane Merrow, Judy Geeson and Lynne Frederick all put in an appearance..

Thanks Gerry and be seeing you with any luck


Quote everything, especially the lovely Gabrielle Drake and the curly Judy Geeson (also seen in Star Maidens and Inseminoid).


Please do not forget the classy Barbara Bain....
 
archipeppe said:
Please do not forget the classy Barbara Bain....

Indeed. And even Joan Collins made a nice appearance in one episode.

I'm not counting the charming Maria Schell because to me the second season of Space:1999 (the American one) was a far cry from Anderson's style and approach.
 
The first "ray guns" of the Space:1999 design were used by Vians in the Trek TOS episode "The Empath," though I do seem to recall a saw handle attached to nested test-tubes (nested inside each other) in an old serial.

"I'm going to kill you and this time there won't be an Arthurian empath capable of resurrecting you like happened in episode five." (Stephanie Frye)
 
They made ONE mistake in designing the Eagle Transporter, and it drives me crazy . . .
When they put the cutouts for the viewports on the top of the nose section, they added matching ones underneath. Fine, they look good, but that means there is no room for the crew, or systems in there. The designers obviously realised their mistake eventually, as the other Earth ships only have cutouts on the top side.

cheers,
Robin.
 
The internal architecture of the Eagle makes little sense when compared to the models, especially for season 2 when they missed out the connecting tunnel between the pod and cockpit... my thought on the lower cutouts though were that they were some sort of flat panel sensor array...

As an aside, 8 year old me in 1977 on seeing the cutouts assumed that early versions of the Eagle had used a version of the Gemini capsule for the cockpit... one day I'll have to do a 3d render of it...

Zeb
 
Indeed. And even Joan Collins made a nice appearance in one episode.

I'm not counting the charming Maria Schell because to me the second season of Space:1999 (the American one) was a far cry from Anderson's style and approach.
I know this is an oldy from 2013,but Maria Schell made an appearance in series one of Space 1999,in the episode The Guardian of Piri,playing the guardian.
fd238ac9e5d999848cc6a52f0f5887ea023c5954.jpg
 
I don't expect reality to ruin a good fantasy script, but I think the show abuses the laws of physics to ridiculous extremes.

-The explosion of a nuclear waste cemetery acts as a cannon (not a rocket engine) to knock the moon out of its orbit and launch it into space,

-Fortunately for the inhabitants of the lunar base, the explosion occurs at the opposite pole of the satellite so that the G-forces are tolerable lying on the ground and that the thrust axis is so precise that it does not cause a brutal rotation.

-The loss of the moon does not end the civilization on earth that retains its orbit, the tilt of the axis and there is no tsunami of two kilometers high that circles the planet.

-The acceleration (perfectly bearable for humans) launches the moon on an interstellar journey, allowing it to cross distant solar systems at such a reduced speed that the spacecraft can live various planetary adventures and return to the lunar base to continue the journey.

I like this series, it's all freedom and youthful adventure, I regret having acquired some scientific knowledge over time that prevents me from enjoying it again when I watch some episodes again.
 
I know this is an oldy from 2013,but Maria Schell made an appearance in series one of Space 1999,in the episode The Guardian of Piri,playing the guardian.
True! I had forgotten about that and was recently reminded by someone on a Space:1999 Facebook group.
It so happens that Maria Schell enjoys retirement in the heart of France, in a district called the Haute-Loire. Although she's in a small village, she occasionally gets visitors who come knocking at her door asking for an autograph!
 
I like this series, it's all freedom and youthful adventure, I regret having acquired some scientific knowledge over time that prevents me from enjoying it again when I watch some episodes again.
That might be the appeal of Space: 1999 - it's superficially realistic design gave the appearance of plausibility to old 1920s/30s style plots, giving then a new lease of life. Episodes like 'Dragon's Domain' (Season 1, Episode 8) are damn good stories.

Rather like Andor, I suppose.
 
True! I had forgotten about that and was recently reminded by someone on a Space:1999 Facebook group.
It so happens that Maria Schell enjoys retirement in the heart of France, in a district called the Haute-Loire. Although she's in a small village, she occasionally gets visitors who come knocking at her door asking for an autograph!
I loved Maya as a character for her style and puckish sense of humour. One of the high spots of Season 2.

The original, campy Battlestar Galactica got a highly intelligent reboot suitable to its dark premise and I wonder what a reboot of Space: 1999 might be like. There was an attempt to float Space: 2099 some years back, but it never led anywhere.

Maybe attempts at a sort of jump drive on the Moon that are risky enough to be put off Earth but still promising to carry out in a remote lab. It ends up moving the entire Moon and can't be shut down. Not more plausible by any means, but more congruent with current technobabble.

Here's the pitch:

Crazy experiment in hyperspatial jumps is performed on lunar far side. Success... Oops, beyond farthest hopes and fears. Whole moon shifted! Effect can't be shut off and runs through cycles that at least give warning signs leading up to next jump. Just to add useful drama, each jump is from a certain point in a star's gravity well to its equivalent around another star, meaning that Eagles can reach habitable planets. Added countdown: each jump consumes matter of the Moon or increases instability somehow, meaning that the inhabitants of Moonbase Alpha have to find a new home before the last jump destroys the whole moon. Tick... tick... tick...
 
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That might be the appeal of Space: 1999 - it's superficially realistic design gave the appearance of plausibility to old 1920s/30s style plots, giving then a new lease of life. Episodes like 'Dragon's Domain' (Season 1, Episode 8) are damn good stories.

Rather like Andor, I suppose.
That one gave me nightmares . . . great music though, when the lone survivor is drifting in space . . .

cheers,
Robin.
 
That one gave me nightmares . . . great music though, when the lone survivor is drifting in space . . .

cheers,
Robin.
Albinoni, Adagio in G Minor.

View: https://www.youtube.com/watch?v=_eLU5W1vc8Y&ab_channel=MusicArtstrings


A nod to Kubrick's use of the adagio from Khachaturian's Gayane ballet suite.

View: https://www.youtube.com/watch?v=EB3IokHelRk&ab_channel=vidAcc256


... which Ridley Scott tipped his hat to in Prometheus with Chopin's 'Raindrop' Prelude in D Flat Major.

View: https://www.youtube.com/watch?v=h93uFBoLJdQ&ab_channel=SAWFANATIC216
 
The original, campy Battlestar Galactica got a highly intelligent reboot suitable to its dark premise and I wonder what a reboot of Space: 1999 might be like.
I am and have always been an absolute fan of Space:1999, which is still my favorite scifi series to this day (well, the first season at least), and I'll tell you this: I'm 100% convinced that no reboot could do that series justice. I'm not systematically against reboots, but in that particular case, I think what made the series so unique is not just the scripts (which were excellent), not just the sets (which were fabulous)... It was a combination of several key elements that can't be reproduced:
  1. First of all the novelty of it when it came out; we had never seen a series take a "serious" look at space, showing it as a dangerous place where death awaits at every corner (it was the antithesis of Star Trek and its unrealistic view of fraternizing across the galaxy with all kinds of species).
  2. Then there is the pace: it was slow, with long moments of silence and tension, and that made us feel the anguish of the characters (the second season did away with that aspect to give a more mainstream format).
  3. Then there is the music, which sustained the tension so well, giving aural shape to the mysteries and dangers of space, in a way that was not unlike Japanese OSTs.
  4. Then there is the remarkable array of characters, not larger-than-life but very down-to-earth folks trying to stay alive in a hostile universe. Koenig and Russell are anti-heroes, older than the regular scifi heroes, more prone to thinking than fighting, and Bergman adds wisdom and experience. You don't get the usual brash youngsters that seem to be a given in most scifi series, simply because there is no attempt to create heroes youngsters could identify with, but rather look up to as role models.
  5. Then there is the very choice of actors: Landau and Bain were separated at the time of filming but they had a deep connection that is real on the screen; you can totally believe that these two mean the world to each other, without a need for any outward expression of their feelings. Also the guest actors were just amazing, with the likes of Christopher Lee, Brian Blessed, Joan Collins and many others.
  6. And of course, there is the input, vision and creativity of the Andersons, who had gained experience on UFO and were giving this show their utmost.
Rebooting Space:1999 would at best mimic the original show but probably couldn't touch its spirit. You'd need producers, directors and actors totally committed to creating something odd, something offbeat and devoid of any attempt to be fashionable. A show appealing to the viewer's intelligence and not their guts. But that would be a non-starter, since the necessities of the market dictate that a modern show must have action, preferably with sex, violence and swearing every two sentences. "A show that makes you pause and reflect?? You gotta be kiddin' me!" Unfortunately we live in an age of instant action/reaction, where people often consider it uncool to use their brains, and prefer, for instance, games that resort to violence rather than solving puzzles. What I'm saying, in essence, is that the original show was made to appeal to a category of human beings bred on a different set of values, at a different pace, a generation that is now ageing and finds very little echo of its timeless classics in today's fast-paced world. That doesn't mean I don't enjoy modern scifi, I actually do enjoy some of it, but the stuff I like best is not necessarily the most successful one from a commercial viewpoint...
 
I am and have always been an absolute fan of Space:1999, which is still my favorite scifi series to this day (well, the first season at least), and I'll tell you this: I'm 100% convinced that no reboot could do that series justice. I'm not systematically against reboots, but in that particular case, I think what made the series so unique is not just the scripts (which were excellent), not just the sets (which were fabulous)... It was a combination of several key elements that can't be reproduced:
  1. First of all the novelty of it when it came out; we had never seen a series take a "serious" look at space, showing it as a dangerous place where death awaits at every corner (it was the antithesis of Star Trek and its unrealistic view of fraternizing across the galaxy with all kinds of species).
  2. Then there is the pace: it was slow, with long moments of silence and tension, and that made us feel the anguish of the characters (the second season did away with that aspect to give a more mainstream format).
  3. Then there is the music, which sustained the tension so well, giving aural shape to the mysteries and dangers of space, in a way that was not unlike Japanese OSTs.
  4. Then there is the remarkable array of characters, not larger-than-life but very down-to-earth folks trying to stay alive in a hostile universe. Koenig and Russell are anti-heroes, older than the regular scifi heroes, more prone to thinking than fighting, and Bergman adds wisdom and experience. You don't get the usual brash youngsters that seem to be a given in most scifi series, simply because there is no attempt to create heroes youngsters could identify with, but rather look up to as role models.
  5. Then there is the very choice of actors: Landau and Bain were separated at the time of filming but they had a deep connection that is real on the screen; you can totally believe that these two mean the world to each other, without a need for any outward expression of their feelings. Also the guest actors were just amazing, with the likes of Christopher Lee, Brian Blessed, Joan Collins and many others.
  6. And of course, there is the input, vision and creativity of the Andersons, who had gained experience on UFO and were giving this show their utmost.
Rebooting Space:1999 would at best mimic the original show but probably couldn't touch its spirit. You'd need producers, directors and actors totally committed to creating something odd, something offbeat and devoid of any attempt to be fashionable. A show appealing to the viewer's intelligence and not their guts. But that would be a non-starter, since the necessities of the market dictate that a modern show must have action, preferably with sex, violence and swearing every two sentences. "A show that makes you pause and reflect?? You gotta be kiddin' me!" Unfortunately we live in an age of instant action/reaction, where people often consider it uncool to use their brains, and prefer, for instance, games that resort to violence rather than solving puzzles. What I'm saying, in essence, is that the original show was made to appeal to a category of human beings bred on a different set of values, at a different pace, a generation that is now ageing and finds very little echo of its timeless classics in today's fast-paced world. That doesn't mean I don't enjoy modern scifi, I actually do enjoy some of it, but the stuff I like best is not necessarily the most successful one from a commercial viewpoint...
Amen!
 
I am and have always been an absolute fan of Space:1999, which is still my favorite scifi series to this day (well, the first season at least), and I'll tell you this: I'm 100% convinced that no reboot could do that series justice. I'm not systematically against reboots, but in that particular case, I think what made the series so unique is not just the scripts (which were excellent), not just the sets (which were fabulous)... It was a combination of several key elements that can't be reproduced:
  1. First of all the novelty of it when it came out; we had never seen a series take a "serious" look at space, showing it as a dangerous place where death awaits at every corner (it was the antithesis of Star Trek and its unrealistic view of fraternizing across the galaxy with all kinds of species).
  2. Then there is the pace: it was slow, with long moments of silence and tension, and that made us feel the anguish of the characters (the second season did away with that aspect to give a more mainstream format).
  3. Then there is the music, which sustained the tension so well, giving aural shape to the mysteries and dangers of space, in a way that was not unlike Japanese OSTs.
  4. Then there is the remarkable array of characters, not larger-than-life but very down-to-earth folks trying to stay alive in a hostile universe. Koenig and Russell are anti-heroes, older than the regular scifi heroes, more prone to thinking than fighting, and Bergman adds wisdom and experience. You don't get the usual brash youngsters that seem to be a given in most scifi series, simply because there is no attempt to create heroes youngsters could identify with, but rather look up to as role models.
  5. Then there is the very choice of actors: Landau and Bain were separated at the time of filming but they had a deep connection that is real on the screen; you can totally believe that these two mean the world to each other, without a need for any outward expression of their feelings. Also the guest actors were just amazing, with the likes of Christopher Lee, Brian Blessed, Joan Collins and many others.
  6. And of course, there is the input, vision and creativity of the Andersons, who had gained experience on UFO and were giving this show their utmost.
Rebooting Space:1999 would at best mimic the original show but probably couldn't touch its spirit. You'd need producers, directors and actors totally committed to creating something odd, something offbeat and devoid of any attempt to be fashionable. A show appealing to the viewer's intelligence and not their guts. But that would be a non-starter, since the necessities of the market dictate that a modern show must have action, preferably with sex, violence and swearing every two sentences. "A show that makes you pause and reflect?? You gotta be kiddin' me!" Unfortunately we live in an age of instant action/reaction, where people often consider it uncool to use their brains, and prefer, for instance, games that resort to violence rather than solving puzzles. What I'm saying, in essence, is that the original show was made to appeal to a category of human beings bred on a different set of values, at a different pace, a generation that is now ageing and finds very little echo of its timeless classics in today's fast-paced world. That doesn't mean I don't enjoy modern scifi, I actually do enjoy some of it, but the stuff I like best is not necessarily the most successful one from a commercial viewpoint...
Y.M.W.V. A(ny) *commercial TV series* taking a socalled "serious" look at humanity's future in space? WTF??? It is and always was an escapist fantasy desperately vying for, just like the vast majority of all the major and minor scifi mind-candy shows before, in between, and after (e.g. Star Trek or Raumpatrouille [and if you're not familiar with that one, please educate yourself, STAT]!), *current* viewer laundry detergent et. al. buying power. The future is here, and anything and everything is now available for buy, sell, or trade at will, depending on whether you are willing to constrain yourself to white, 50 (or more) shades of grey, yellow, brown, or completely black providers/customers/consumers/markets. But, to quote my current boss, I'm not bitter. Price/value/loss/profit points/ratios/evaluations will likely still mercilessly dictate any solar system levels interplanetary decisions from now on. RIP, Andersons.
 
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I had an in-universe explanation for Breakaway...they seem to have some type of gravity intensifiers, so I guess the energy coupled with some field effects or other.

Even though I love the pure white fireball --that's a bigger stumbling block to me and is harder to handwave.
 
I like the idea of updating the series with a more plausible scientific approach:

An experiment on the structure of space-time, which is considered too dangerous to be carried out on Earth, goes wrong because an idiot drops his coffee on the hypertransmutator and in tenths of a second the Moon appears at the other end of the Galaxy with a human colony abandoned to its own scientific resources.

Only the pilot chapter has great development potential: identification of the new location in space by triangulation of known pulsars, identification of the problem to try to reverse the instantaneous translation effect without inertia.

Either they achieve hyperpropulsion or they die when the potatoes run out.

Think, Rodney McKay, think or we will all die!
 
Y.M.W.V. A(ny) *commercial TV series* taking a socalled "serious" look at humanity's future in space? WTF??? It is and always was an escapist fantasy desperately vying for, just like the vast majority of all the major and minor scifi mind-candy shows before, in between, and after (e.g. Star Trek or Raumpatrouille [and if you're not familiar with that one, please educate yourself, STAT]!), *current* viewer laundry detergent et. al. buying power. The future is here, and anything and everything is now available for buy, sell, or trade at will, depending on whether you are willing to constrain yourself to white, 50 (or more) shades of grey, yellow, brown, or completely black providers/customers/consumers/markets. But, to quote my current boss, I'm not bitter. Price/value/loss/profit points/ratios/evaluations will likely still mercilessly dictate any solar system levels interplanetary decisions from now on. RIP, Andersons.
Well, in the 1980s there was the BBC series Star Cops:
 
I am and have always been an absolute fan of Space:1999, which is still my favorite scifi series to this day (well, the first season at least), and I'll tell you this: I'm 100% convinced that no reboot could do that series justice. I'm not systematically against reboots, but in that particular case, I think what made the series so unique is not just the scripts (which were excellent), not just the sets (which were fabulous)... It was a combination of several key elements that can't be reproduced:

Personally I much prefer UFO and if any of the Andersons live acted shows were given a reboot IMO I that show should be UFO.
 

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