THE TWIZZLE LYRICS TV
THE TWIZZLE LYRICS SERIES
The Adventures of Twizzle was so well received that A-R wanted another series from Roberta Leigh and Gerry Anderson. The skills that Meddings honed over the years working on Anderson produced series made him one of the most sought after SFX men. Meddings considered working on a puppet series to be of no real value at first. Derek Meddings was approached by Reg Hill who took the job only to earn some extra money.
The method was soon adopted by the film industry worldwide.īy now the team working on Twizzle were a compliment of twelve, and more were needed.
THE TWIZZLE LYRICS MOVIE
He rigged it up to form a device that became known as 'Video Assist,' a brilliantly innovative technique that involved attaching the new camera to the movie camera in such a way that whatever the movie camera saw was relayed to monitors anywhere on the set. In order for the puppeteers to see what they were doing from so high above, Anderson bought a new lightweight camera that had just come onto the market. This eliminated the need for one-dimensional sets and did away with shadows that were reflected onto the background of other puppet series. Other improvements were the shift away from traditional manipulation and instead of the puppet operators working the strings from behind a backdrop, where they had to lean forward to see the puppets faces, they were now located on an overhead bridge 12 feet off the studio floor. Together with Art Director Reg Hill, Anderson decided to add more details to the sets, cuts and close ups would be introduced all techniques used on films and as yet unheard of in a puppet series. Despite the lack of appeal to be associated with such a project, Anderson decided to raise the standard even though the budget and schedule depicted otherwise. Due to Anderson's desire to improve standards the deadlines would be tight to actually prove profitable models had their finishing touches applied in the morning and were in front of the camera by the same afternoon making last minute improvements close to impossible.Īnderson was aware that puppets up till then were quite grotesque looking, and without personality as well as static in as far as eye movements and facial expressions were concerned. The offer was accepted and the team set to work. A chance to finally start working as a company, as a team, and more importantly a cash injection of £450 per episode meant that beggars can't be choosers. Six months later, just as money was running out, it finally did when Roberta Leigh and her colleague Suzanne Warner were shopping for a company on behalf of Associated Rediffusion, to work for low budget. With no work from day one, the company's staff were working individually to make ends meet until the phone rang. Gerry Anderson's new company at Maidenhead, Buckinghamshire, was failing before it had a chance to begin.
Fifty years later after that first episode aired, the puppets of Gerry Anderson are still watched around the world and probably will be watched for many years to come. The Adventures of Twizzle was a hit and Anderson led Provis, the crew and voice actors onwards and upwards through a genre that was perceived to be a bread and butter career at best. Though not particularly keen to enter the uninteresting genre of puppet series due to a lack of work and 'needs must' an offer was made and accepted and the team set to work with Anderson raising the bar from the very start. The Adventures of Twizzle was the starting point for AP Films, set up by Gerry Anderson and Arthur Provis. Gerry Anderson, The Adventures of Twizzle
0 kommentar(er)
