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The series ' title sequence , storyboarded by Gerry Anderson , is made up of two parts . It opens with a countdown of " 5 , 4 , 3 , 2 , 1 : Thunderbirds Are Go ! " , provided by Dyneley in character as Jeff Tracy . In a departure from the style of Stingray , the Thunderbirds title sequence varies with each episode : the first part consists of an action montage that serves as a preview of the plot . Simon Archer and Marcus Hearn , biographers of Gerry Anderson , compare this device favourably to a film trailer .
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The second part , accompanied by composer Barry Gray 's " The Thunderbirds March " , features portraits of the main puppet cast superimposed on various vehicles and settings . Peel describes this as " ostensibly a return to the ' series stars ' concept long known in TV " , while Garland considers such imagery demonstrative of Anderson 's commitment to " incremental realism " through a convergence of human and puppet characteristics . Essayist Jonathan Bignell suggests that the use of portraits conveys Anderson 's partiality to " visual revelation of machines and physical action " .
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According to Daniel O 'Brien , writer of SF : UK : How British Science Fiction Changed the World , the Thunderbirds title sequence encapsulates the reasons for the series ' enduring popularity . Dyneley 's countdown is particularly well remembered and has been widely quoted . Dean Newman of the Syfy channel website ranks Thunderbirds eighth in a list of " Top 10 TV title sequences " , while Den of Geek 's Martin Anderson considers the sequence the best of any TV series .
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= = = Music = = =
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The score was composed by Gray , who served as musical director for all of the Anderson productions up to the first series of Space : 1999 . In response to Gerry Anderson 's request that the main theme have a " military feel " , Gray produced a brass @-@ dominated piece titled " The Thunderbirds March " , which was recorded in December 1964 at Olympic Studios in London . The end titles were originally to have been accompanied by " Flying High " , a lyrical track sung by Gary Miller with backing by Ken Barrie . Ultimately , a variation of the march was used instead . Incidental music was recorded over nine months between March and December 1965 . As most of the music budget was spent on the series ' earlier episodes , later instalments drew heavily on APF 's ever @-@ expanding music library .
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Peel considers " The Thunderbirds March " to be " one of the best TV themes ever written – perfect for the show and catchy when heard alone " . Morag Reavley of BBC Online argues that the piece is " up there ... in the quintessential soundtrack of the Sixties " with the James Bond films and the songs of Frank Sinatra , Elvis and The Beatles . More generally , he praises the series ' " catchy , pulse @-@ quickening tunes " , as well as Gray 's aptitude for " musical nuance " and the mixing of genres . Heather Phares of Allmusic considers " Thunderbirds Are Go ! " – the track accompanying the launch sequences of Thunderbirds 1 , 2 and 3 – to be a reflection of the mod aspect of 1960s British spy fiction . She also highlights Gray 's homage to – and divergence from – musical norms , commenting that his score " sends up the spy and action / adventure conventions of the ' 60s very stylishly and subtly " .
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David Huckvale identifies Wagnerian homage in both the theme music and the series ' premise . Noting that the theme 's opening string ostinato is similar in effect to a recurring motif in Ride of the Valkyries , he also likens the Thunderbird machines to Valkyries themselves : " Their function is more benevolent than those warrior maidens , but they do hover over danger , death and destruction . " Kevin J. Donnelly of the University of Southampton acknowledges the series ' " big @-@ sounding orchestral score " , which he compares to that of a live @-@ action film . He also suggests that the music serves partly to draw attention away from the physical imperfections of the puppets .
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To celebrate the shows anniversary , " Thunderbirds Are Go - 50 Years On " at Colston Hall , Bristol was celebrated as the theme music is brought to life , led by Charles Hazlewood and his All Star Collective .
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= = Broadcast = =
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Thunderbirds premiered on British television on 30 September 1965 on the ITV franchises ATV Midlands , Westward and Channel . Other broadcasters , including ATV London and Granada , started transmissions the following month . The Christmas @-@ themed series finale , " Give or Take a Million " , was first broadcast on 25 December 1966 . Despite Grade 's decision to extend the running time , Midlands and Granada broadcast each episode in two parts . In these areas , both 25 @-@ minute instalments aired on the same day , separated by the ITN Evening News . The conclusion opened with a narration by Shane Rimmer summarising the first part 's action .
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Granada transmitted Thunderbirds in its original , 50 @-@ minute format for the first time with the start of repeats in 1966 . In 1968 , the franchise briefly aired episodes in three parts due to timeslot restrictions . The availability of repeats during the 1960s and 1970s varied among regions . ATV Midlands screened the series regularly into the early 1970s ; by contrast , Thunderbirds was entirely absent from Yorkshire Television between 1968 and 1976 . The series was last transmitted on the ITV franchises in 1981 .
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In 1990 , 8 of the 19 audio episodes released by APF Records were converted into radio dramas , which were transmitted on BBC Radio 5 . The success of the radio series encouraged the BBC to acquire the rights to the TV episodes , which it broadcast simultaneously in all regions from September 1991 on BBC 2 .
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Since the end of the first network run , which achieved average viewing figures of more than six million , the BBC has repeated the series six times : between 1992 and 1993 ( Series One only ) , 1994 and 1995 ( nine episodes only ) , and 2000 and 2001 ( in remastered form ) , as well as in 2003 , 2005 and 2006 . Other channels that have shown repeats include UK Gold ( 1994 – 95 ) , Bravo ( 1996 – 97 ) , Cartoon Network ( 2001 – 02 ) , Boomerang ( 2001 – 03 ) and Syfy ( 2009 ) . In Scotland , the BBC screened a Gaelic dub , Tairnearan Tar As ( " Thunderbirds Are Go " ) in the early 1990s .
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Before its UK debut , Thunderbirds was distributed to 30 other countries including the US , Canada , Australia and Japan . Pre @-@ sales revenue totalled £ 350 @,@ 000 ( approximately £ 6 million today ) . In the year following the series ' first appearance , the number of countries increased to 66 . In Japan , where it was first broadcast by NHK , Thunderbirds attracted a sizeable fan following and influenced series such as Ultraman , Mighty Jack , Himitsu Sentai Gorenger and Super Rescue Solbrain . In the US , the two @-@ part format entered first @-@ run syndication , to modest success , in 1968 . Other overseas broadcasters have included TechTV and Family Room HD ( US ) , BBC Kids and YTV ( Canada ) , Nine Network and Foxtel ( Australia ) , TV3 ( New Zealand ) , MediaCorp TV12 Kids Central ( Singapore ) and RTÉ Two ( Republic of Ireland ) .
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= = Reception = =
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Thunderbirds is generally considered the Andersons ' most popular series and their greatest critical and commercial success . In 1966 , the show received a Royal Television Society Silver Medal for Outstanding Artistic Achievement and Gerry Anderson received an honorary fellowship of the British Kinematograph , Sound and Television Society . In 2007 , Thunderbirds achieved 19th place in a Radio Times magazine reader poll to determine the best science @-@ fiction TV programme of all time . It is ranked fourth by the 2013 Channel 5 list show 50 Greatest Kids ' TV Shows .
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For Peel , Thunderbirds is " without a doubt the peak of the Supermarionation achievement " . Suggesting that the series is pitched at a " more adult " level than its predecessors , he adds that its sense of adventure , effective humour and " gripping and convincing " episodes ensured that " everyone in the audience found something to love about it . " Simon Heffer , a fan of Thunderbirds in childhood , commented positively on the series for The Daily Telegraph in 2011 : " All the elements we children discerned in whatever grown @-@ up television we had been allowed to watch were present in Thunderbirds : dramatic theme and incidental music ; well @-@ developed plots ; goodies and baddies ; swaggering Americans , at a time when the whole of Britain was in a cultural cringe to them ; and , of course , glamorous locations ... Then , of course , there was the nail @-@ biting tension of the rescues themselves ... " Film critic Kim Newman describes the series as a " television perennial " .
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In his foreword to John Marriott 's book , Thunderbirds Are Go ! , Anderson put forward several explanations for the series ' enduring popularity : it " contains elements that appeal to most children – danger , jeopardy and destruction . But because International Rescue 's mission is to save life , there is no gratuitous violence . " According to Anderson , Thunderbirds incorporates a " strong family atmosphere , where Dad reigns supreme " . Both O 'Brien and script editor Alan Pattillo have praised the series ' positive " family values " . In addition , Heffer and others have written of its cross @-@ generational appeal . In 2000 , shortly before the series ' BBC revival , Brian Viner remarked in Radio Times that Thunderbirds was on the point of " captivating yet another generation of viewers " . Stuart Hood , writing for The Spectator in 1965 , praised Thunderbirds as a " modern fairy tale " ; adding that it " can sometimes be frightening " , he recommended that children watch it accompanied by their parents . Writing for Dreamwatch in 1994 , Andrew Thomas described Thunderbirds as only " nominally " a children 's programme : " Its themes are universal and speak as much to the adult in the child as the child in the adult . "
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Jeff Evans , author of The Penguin TV Companion , argues that the series ' 50 @-@ minute format allows for stronger character development and " tension @-@ building " . O 'Brien is less positive in his appraisal of the writing , asserting that the plots are often " formulaic " and are sometimes " stretched to snapping point " by the extended running time . Cornell , Day and Topping are critical : they consider the writing at times " woefully poor " and argue that Thunderbirds as a whole is " often as clichéd as previous Anderson series " . Peel , despite praising the storylines and characterisation , suggests that the " tongue @-@ in @-@ cheek " humour of Stingray is less evident . Where Thunderbirds improves on its predecessor , Peel believes , is in its rejection of fantasy plot devices , child and animal characters , comical and stereotyped villains and what he terms the " standard Anderson sexism " : female characters , marginalised in earlier series , are more commonly seen to play active and sometimes heroic roles .
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Noting the attention to detail of the series ' launch sequences , Jonathan Bignell argues that part of the motivation for dedicating large amounts of screen time to the Thunderbird craft is the need to compensate for the limited mobility of the puppet cast . The focus on futuristic machines has also been explored by cultural historian Nicholas J. Cull , who comments that of all the Andersons ' series , Thunderbirds is the most evocative of a recurring theme : the " necessity of the human component of the machine " , whereby the failures of new technology are overcome by " brave human beings and technology working together " . This makes the series ' vision of the 2060s " wonderfully humanistic and reassuring " . O 'Brien similarly praises this optimism , comparing the Tracy family to guardian Übermensch . Writing for Wired UK magazine , Warren Ellis asserts that the series ' scientific vision could inspire the next generation of " mad and frightening engineers " , adding that Thunderbirds " trades in vast , demented concepts ... immense and very beautiful ideas as solutions to problems . "
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Thomas argues that the world of Thunderbirds is similar to the 1960s to the extent that contemporary capitalism and class structures appear to have survived mostly intact . He also observes , however , that wealth and high social status are often depicted as character flaws rather than strengths . According to Thomas , a contributing factor to the series ' lasting popularity is the realism of IR 's machines . Newman , for his part , suggests that " the point isn 't realism . The 21st century of Thunderbirds is detailed ... but also de @-@ populated , a high @-@ tech toyland " . He is more negative in his comparisons of contemporary and future values , noting the " square , almost 50s " attitudes to race , gender and class . With regard to stereotyping , Hood comments that he " would be happier if [ villains ] didn 't seem to be recognisable by their pigmentation " . Cull , by contrast , considers the series largely progressive on the subject of race , arguing that it rejects negative stereotyping through the use of " positive non @-@ white characters " such as Kyrano and Tin @-@ Tin . However , he deems many of the one @-@ off villains derivative , commenting that these characters are typically presented as " corrupt businessmen , spivs and gangsters familiar from crime films " .
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Various commentators – including Bignell , Cull and O 'Brien – have also discussed Thunderbirds as a product of the Cold War era . Bignell comments that the Hood 's Oriental appearance and mysterious powers draw parallels with James Bond villains and fears of China operating as " a ' third force ' antagonistic to the West " . Cull observes that , despite the series ' focus on the dangers of nuclear technology , the Thunderbird machines contradict this particular theme : in their case , " an image of technology associated with the threat of Cold War mass destruction – the rocket emerging from the hidden silo – was appropriated and deployed to save life rather than to take it . " He argues that the series adheres more closely to cultural norms by drawing on the " Cold War cult of the secret agent whose skills defend the home from enemies unknown " , noting Lady Penelope 's role as a spy in addition to two episodes ( " 30 Minutes After Noon " and " The Man from MI.5 " ) that are heavily influenced by the James Bond novels and film adaptations .
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The presentation of smoking in Thunderbirds was the subject of a study published in the medical journal Tobacco Control in 2002 . Despite identifying examples in 26 episodes , Kate Hunt of the University of Glasgow concluded that Thunderbirds does not actively promote smoking – a view opposed by the Roy Castle Lung Cancer Foundation ( RCLCF ) at the time of the series ' relaunch on BBC 2 . Rejecting the RCLCF 's proposal that the remastered episodes be edited to digitally erase all visible cigarettes and cigars , the BBC stated that the series " does not glorify or encourage smoking " and described the activity as " incidental to the plot " .
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= = Merchandise = =
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More than 3 @,@ 000 Thunderbirds @-@ themed products have been marketed since the series ' debut . To accommodate the high demand for tie @-@ ins , APF established three dedicated subsidiaries : AP Films Merchandising , AP Films Music and AP Films Toys . Some British commentators dubbed the 1966 end @-@ of @-@ year shopping season " Thunderbirds Christmas " due to the series ' popularity . In the early 1990s , Matchbox launched a new toy range to coincide with the BBC 2 repeats . Sales figures for Christmas 1992 exceeded those achieved by the Star Wars merchandising campaigns of the 1970s and 1980s . Demand for Matchbox 's Tracy Island Playset overwhelmed supply , resulting in shop fights and a substantial black market for the toy .
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A comic strip featuring the characters of Lady Penelope and Parker debuted in the early issues of APF Publishing 's children 's title TV Century 21 in 1965 . A full @-@ length Thunderbirds strip appeared a year later , at which point the Lady Penelope adventures were given their own comic . Thunderbirds , Lady Penelope and Captain Scarlet and Thunderbirds annuals were published in the late 1960s ; during the same period , eight original novels were written . In 2008 , FTL Publications of Minnesota launched a new series of tie @-@ in novels .
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Between 1965 and 1967 , APF Records released 19 audio episodes in the form of vinyl EPs . Three are original stories ; the rest are adapted from TV episode soundtracks , with additional narration provided by a member of the voice cast . The series ' first video game tie @-@ in , developed for the Commodore 64 and ZX Spectrum computers , was released by Firebird Software in 1985 . Other titles have since been released for the Game Boy Color , Game Boy Advance and PlayStation 2 . During the late 1980s , the series was issued on home video for the first time by PolyGram and its subsidiary Channel 5 . Following its acquisition by Carlton International Media in 1999 , Thunderbirds was digitally remastered for the release of the first DVD versions in 2000 . Blu @-@ ray Disc editions followed in 2008 .
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= = Later productions = =
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Thunderbirds has been followed by two film sequels , a live @-@ action film adaptation , two animated TV remakes and several re @-@ edited presentations for TV broadcast and home video . The second of the remakes , Thunderbirds Are Go , premiered on ITV in 2015 , the 50th anniversary year of the original .
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= = = Film = = =
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The feature @-@ length film sequels Thunderbirds Are Go and Thunderbird 6 were released in 1966 and 1968 . The first was greenlit by Lew Grade before the TV series had started its broadcast run . Written and produced by the Andersons and directed by David Lane , both films were distributed by United Artists . Neither was a critical or commercial success , and Century 21 Cinema 's plans for further sequels were abandoned .
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In the early 1980s , episodes of Thunderbirds and other Supermarionation series were re @-@ edited by ITC 's New York offices to create a series of compilation films . Branded " Super Space Theater " , this format was mostly intended for family viewing on American cable and syndicated TV . Three Thunderbirds features were produced : Thunderbirds to the Rescue , Thunderbirds In Outer Space and Countdown to Disaster .
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Plans for a live @-@ action film adaptation were first announced in 1993 . These eventually culminated in the 2004 film Thunderbirds , directed by Jonathan Frakes and produced by StudioCanal and Working Title Films . It was a critical and commercial failure and was poorly received by fans of the TV series .
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= = = TV = = =
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The Andersons sold their intellectual and profit participation rights to Thunderbirds and their other productions in the 1970s . As a result , they had no developmental control over subsequent adaptations of their works . Thunderbirds was first remade for TV in the early 1980s as Thunderbirds 2086 . In this anime re @-@ imagining , set 20 years after the original , the vastly expanded IR is based within an arcology and operates 17 Thunderbird machines . It was inspired by Thunderhawks , an updated story concept by Gerry Anderson and Reg Hill that later served as the basis for Anderson 's Supermacromation series Terrahawks .
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Two re @-@ edited series , based on condensed versions of 13 of the original episodes , aired in the US in 1994 . The first , Thunderbirds USA , was broadcast as part of the Fox Kids programming block ; the second , Turbocharged Thunderbirds , was syndicated by UPN . Developed as a comedy , Turbocharged Thunderbirds moved the action to the planet " Thunder @-@ World " and combined the original puppet footage with new live @-@ action scenes featuring a pair of human teenagers .
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As well as Thunderhawks , Anderson developed other ideas for a remake . A 1976 concept , Inter @-@ Galactic Rescue 4 , was to have featured a variable @-@ configuration craft capable of performing rescues on land and sea , in air and in space ; Anderson pitched the idea to NBC , who rejected it . This was followed in 1984 by another proposed updating , T @-@ Force , which at first could not be pursued owing to a lack of funding . Development resumed in 1993 , when it was decided to produce the series , now titled GFI , using cel animation . But Anderson was disappointed with the results and the production was abandoned .
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In 2005 , Anderson re @-@ affirmed his wish to remake Thunderbirds but stated that he had been unable to secure the necessary rights from Granada Ventures . His negotiations with the company and its successor , ITV plc , continued for the next few years . In 2008 , he expressed his commitment to creating an " updated " version , ideally using CGI ; three years later , he announced that work on the series had commenced . Following Anderson 's death in December 2012 , it was confirmed that a deal had been struck between ITV Studios and Pukeko Pictures to remake Thunderbirds using a combination of CGI and live @-@ action model sets . The new version , Thunderbirds Are Go , has been commissioned for two series of 26 episodes each . The first 13 episodes of Series One were broadcast on ITV HD and CITV between April and June 2015 .
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In July 2015 , to celebrate the series ' 50th anniversary , Filmed in Supermarionation documentary director Stephen La Rivière launched a Kickstarter campaign to raise the funds necessary to produce three new puppet episodes based on the Thunderbirds mini @-@ albums of the 1960s . The project , titled " Thunderbirds 1965 " , is supported by ITV , Sylvia Anderson and the estate of Gerry Anderson .
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= = Influence = =
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Thunderbirds has influenced TV programmes , films and various other media . The puppet comedy of the film Team America : World Police was directly inspired by the idiosyncrasies of Thunderbirds @-@ era Supermarionation techniques . Allusion and homage are also evident in Wallace and Gromit : A Close Shave , Austin Powers : The Spy Who Shagged Me and Spaced , as well as the character design of Star Wars : The Clone Wars . The BBC sketch comedy Not Only ... But Also included a segment titled " Superthunderstingcar " – a parody of Thunderbirds , Supercar and Stingray .
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IR 's life @-@ saving mission inspired the founding of the volunteer International Rescue Corps , originally made up of a group of British firemen who contributed to the humanitarian effort following the 1980 Irpinia earthquake . Virgin Group has used the series in branding its services : Virgin Atlantic operates a Boeing 747 @-@ 400 airliner named Lady Penelope , while Virgin Trains owns a fleet of locomotives that are all named after main characters and vehicles and used specifically to " rescue " broken @-@ down trains .
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A mimed stage show , Thunderbirds : F.A.B. , has toured internationally and popularised a staccato style of movement known colloquially as the " Thunderbirds walk " . The production has periodically been revived as Thunderbirds : F.A.B. – The Next Generation .
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Cover versions of " The Thunderbirds March " have been released by musicians and bands such as Billy Cotton , Joe Loss , Frank Sidebottom , The Rezillos and The Shadows . Groups who have written songs inspired by the series include Fuzzbox ( with " International Rescue " ) , TISM ( with " Thunderbirds Are Coming Out " ) , Busted ( with " Thunderbirds / 3AM " ) and V6 ( with " Thunderbirds – Your Voice " ) . In 1991 , Anderson filmed the music video for the Dire Straits single " Calling Elvis " with a collection of Thunderbirds @-@ style puppets .
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During the 1960s , APF produced themed TV advertisements for Lyons Maid and Kellogg 's . Aspects of Thunderbirds have since been used in advertising for Swinton Insurance , Nestlé Kit Kat , Specsavers and the UK Driver and Vehicle Licensing Agency .
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= T. Arthur Cottam =
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T. Arthur Cottam is a screenwriter , actor , producer and film director . A graduate of the Film and Television Production program at the Tisch School of the Arts of New York University , Cottam resides in Los Angeles , California . He acted in theatre , and received an Artistic Director Achievement Award from the Valley Theatre League for his role in the theatre production Othello as a cast member of Zombie Joe 's Underground Theatre Group . Cottam directed short films along a topical series called " Dirty Little Shorts " .
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His existential work Pornographic Apathetic deals with four people recounting pornographic film dialog in a state of apathy . Pornographic Apathetic was featured in numerous movie festivals , and received eight film awards as well as critical acclaim . Cottam 's film Carbuncle was featured in 2006 at the Milano Film Festival in Italy , and was recognized with a nomination in the category of " Best Feature Film " . His 2006 film Filthy Food received the award for " Best Experimental Short Film " at the festival CineKink NYC . Cottam 's film 52 Takes of the Same Thing , Then Boobs was an entrant in the 2010 International Short Film Festival in Piombino , Italy , and was featured in AFI FEST in the same year .
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= = Education = =
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Cottam graduated from the Film and Television Production program at the Tisch School of the Arts of New York University . Cottam 's thesis work at NYU was titled Beer Goggles , the film received the Best Editing award at the First Run Film Festival and was featured at the Chicago and New York Underground Film Festivals . He received a Bachelor of Fine Arts degree from NYU in 1998 .
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= = Career = =
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T. Arthur Cottam is an actor , and film @-@ maker , based in Los Angeles , California . Cottam was a member of Zombie Joe 's Underground Theatre Group , and performed along with actors Denise Devin and Bernadette Larsen in 2000 in a series of productions titled " Sketches 7 : Bury the Hatchet " , directed by Zombie Joe and Josh T. Ryan . He continued performing in theatre in Los Angeles in 2001 . In 2002 , Cottam received an Artistic Director Achievement Award from the Valley Theatre League for his role in the theatre production Othello put on by the Zombie Joe group . Cottam 's short films were produced along a topical series titled , " Dirty Little Shorts " . His film Pornographic Apathetic debuted in 2002 . The existential plot features four individuals ( two women and two men ) who recreate dialog from pornographic film while in a state of apathy . Pornographic Apathetic garnered eight film awards , and was featured at more than 50 film festivals .
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Pornographic Apathetic received positive reception from journalist Gary Dowell of The Dallas Morning News , who described it as " Especially notable ... an experimental work that strips the mystique from porn " . Pornographic Apathetic was selected for inclusion in the Puchon International Fantastic Festival ( PiFan ) in South Korea ; the festival " aims to identify the important elements of fantastic films , such as creativity and popularity " . The movie was shown at the Paris Porn Film Fest at the Le Brady cinema , in Paris , France . The film was featured in an exhibit in Vienna , examining the nature of pornography . Writing for San Antonio Express @-@ News , Mike Greenberg observed , " T. Arthur Cottam 's Pornographic Apathetic is just about the funniest thing I 've ever seen . ( The excellent actors are mostly clothed , never touch each other and are nearly motionless , but the dialogue is not suitable for children or bluenoses . ) " The film was given a favorable review by reporter Robert W. Butler of The Kansas City Star who covered the piece during its presentation at the Kansas City Filmmakers Jubilee . Butler wrote , " Your ears will burn while watching T. Arthur Cottam 's superlative satiric essay on the desensitizing effects of pornography , but you 'll also be laughing . ... It 's lurid . It 's raunchy . It 's vile . But all this nasty lubricity is delivered deadpan , a device that deconstructs the whole intention of porn . " Marc Mohan reviewed the film during its feature at the Portland International Short Short Film Festival , and wrote that it " makes the most of its one @-@ joke premise " . In 2007 , The Orlando Sentinel characterized Cottam as a favorite film @-@ maker at the Florida Film Festival . Los Angeles Times journalist Borzou Daragahi cited the film as an example of problems with the adult film industry in an article about a sexual art exhibit ; he commented , " The piece makes you laugh while illustrating one of the paradoxes of smut : At its core , it 's rather idiotic and boring . "
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In 2006 , Cottam 's film Carbuncle competed at the Milano Film Festival , alongside another U.S. film titled The Blood of my Brother by Andrei Berends . Carbuncle received a nomination in the category of " Best Feature Film " at the Milan Film Festival . Cottam 's 2006 film Filthy Food was featured in the San Francisco Underground Short Film Festival , and received the award for " Best Experimental Short Film " at the festival CineKink NYC . In 2010 , Cottam 's film 52 Takes of the Same Thing , Then Boobs was an entrant in the International Short Film Festival in Piombino , Italy . It was featured in a section of the International Short Film Festival which included selections of films that were considered " visionary " and contributed a " visual impact " to cinema . 52 Takes of the Same Thing , Then Boobs was featured in AFI FEST 2010 , where Lane Kneedler associate director of programming called it " the most outrageously ' out there ' film that we have scheduled " . In an interview with Girami , Cottam stated he had intended to direct a feature @-@ length film for some time , and wanted to combine his talents with actors who could improvise in front of the camera . Cottam said he had a great experience working with the actors on the film Carbuncle , and stated he let improvisation be the tool by which the actors could show emotions and create their characters . In September 2010 , 52 Takes of the Same Thing , Then Boobs was shown at the Black Rock City Film Festival located at the Burning Man site in the Nevada desert .
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= = Filmography = =
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= = = Film = = =
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= = = Theatre = = =
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= = Awards and nominations = =
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= Partington =
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Partington is a town and civil parish within the Metropolitan Borough of Trafford in Greater Manchester , England , about ten miles ( 16 km ) to the south @-@ west of Manchester city centre . Historically part of Cheshire , it lies on the southern bank of the Manchester Ship Canal , opposite Cadishead on the northern bank . It has a population of 7 @,@ 327 .
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A paper mill built in Partington more than 250 years ago was the first factory in Trafford . The completion of the Manchester Ship Canal in 1894 transformed Partington into a major coal @-@ exporting port and attracted a range of other industries . Until 2007 Shell Chemicals UK operated a major petrochemicals manufacturing complex in Carrington , Partington 's closest neighbour , to the east . The gas storage facility in the north @-@ eastern corner of the town was once a gasworks and another significant employer .
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Shortly after the Second World War , local authorities made an effort to rehouse people away from Victorian slums in inner @-@ city Manchester . An area of Partington extended as an overspill estate is now one of the most deprived parts of the Greater Manchester conurbation . The Cheshire Lines Committee opened a railway line through the town in 1873 , but it closed in 1964 .
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Partington and Carrington Youth Partnership was established to provide the town 's youth with activities and the town has seen investment in a new youth centre . Broadoak School , the only secondary school in the town , is used by Trafford College to provide further education .
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= = History = =
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