Thunderbirds Are Go
Thunderbirds Are Go | |
---|---|
Charles Tingwell | |
Cinematography |
|
Edited by | Len Walter |
Music by | Barry Gray |
Production companies | |
Distributed by | United Artists |
Release date |
|
Running time | 93 minutes |
Country | United Kingdom |
Language | English |
Budget | £250,000[4][5][6] |
Thunderbirds Are Go is a 1966 British
Filmed between March and June 1966 at Century 21's studios on the
Although early reviews praised the film as a successful cinematic transfer of the TV series, Thunderbirds Are Go drew a lukewarm public response and proved to be a box office failure. Later reviews would criticise the film for its minimal characterisation, lengthy effects shots, and inclusion of a fantasy dream sequence centring on Richard and The Shadows. Surprised by the film's underperformance, and confident that Thunderbirds still had cinematic potential, distributors United Artists ordered a sequel, Thunderbird 6. However, this too received a mediocre critical and commercial response and caused the franchise to be abandoned until the early 2000s. Zero-X later appeared in the first episode of Captain Scarlet and the Mysterons, the Andersons' follow-up to Thunderbirds, while tie-in publication TV Century 21 ran a Zero-X comic strip until 1969.
Plot
In 2065,[7] the first human mission to Mars is launched from Glenn Field in the form of the spacecraft Zero-X. Unknown to Captain Travers and his four-man crew, master criminal the Hood has stowed away on board to photograph Zero-X's wing mechanism. Shortly after lift-off, the Hood inadvertently traps his foot in the craft's hydraulics, jamming them and causing Zero-X to go out of control. As the astronauts eject in the escape pod, the Hood extracts his crushed foot and parachutes to safety from the undercarriage. Zero-X crashes into the ocean and explodes.
In 2067,
Mission complete, Penelope invites Scott and Virgil to join her at popular nightclub The Swinging Star. Returning to Tracy Island, Alan feels unappreciated when Jeff insists that he stay at base while the others spend the night partying. Asleep in bed, Alan has a surreal dream in which he and Penelope travel to another Swinging Star located in space. Appearing at the nightclub are Cliff Richard Jr and the Shadows, who perform a song called "Shooting Star" and an instrumental called "Lady Penelope". The dream ends when Alan falls out of The Swinging Star and back to Earth, waking to discover that he has merely fallen out of bed.
After a six-week flight, Zero-X reaches Mars on 22 July and all of the astronauts except Space Navigator Newman touch down on the planet in their lander, the Martian Excursion Vehicle (MEV). Investigating the surface, the men are puzzled to find strange, coil-like rock formations. Space Captain Martin destroys one of the structures with the MEV's gun and Dr Pierce prepares to go outside to collect samples. The other structures come to life, revealing themselves to be one-eyed rock snakes. The aliens bombard the MEV with fireballs from their mouths, forcing the astronauts to take off prematurely. Docking with Newman in orbit, they start back to Earth.
As Zero-X re-enters Earth's atmosphere on 2 September, lifting body no 2 fails to connect with the spacecraft due to a radio control fault, and damages various systems, including flight control and the escape pod circuit. With the astronauts unable to eject and Zero-X set to impact on Craigsville, Florida (pop 4,800),[Note 3] Jeff launches Scott and Brains in Thunderbird 1 and Virgil, Alan and Gordon in Thunderbird 2. Craigsville is evacuated. Lifted into Zero-X's undercarriage, Alan repairs the escape circuit under Brains' guidance. Seconds before impact, Alan completes his task and jumps out as the astronauts eject. The empty Zero-X crashes into Craigsville. Picked up by Penelope and Parker in FAB1, Alan is driven to the real Swinging Star where Penelope, joined by the Tracy family, Brains and Tin-Tin, toast Alan as a hero.
Production
I tried to keep the stories believable, if only for that particular moment. Of all the planets, the only one that might possibly sustain life was Mars, so, with everybody in science fiction wanting to talk about aliens or another race, Mars was the only planet that made any sense. Right up until the Americans landed the probe on Mars, there was speculation that there might be life there.
— Gerry Anderson on the film's premise[6]
When filming on Series One of Thunderbirds ended in late 1965, Gerry Anderson and his financial backer, Lew Grade, agreed that a feature film would be the next logical step in expanding the Thunderbirds franchise.[4][9] With United Artists contracted to distribute, a budget of £250,000 (about £5.15 million in 2021) was set and Anderson and his wife, Sylvia, began work on the script at their second home in Portugal.[4][5][6][10][11]
The couple decided to base the film on the American-Soviet "Space Race" – in particular the race to land astronauts on the Moon – but adapt this premise for the futuristic world of Thunderbirds by switching the location to Mars.[5][10] During the pre-production of their next puppet series, Captain Scarlet and the Mysterons, they would write in a second appearance of the Zero-X as a link to Thunderbirds.[12] Like Thunderbirds Are Go, Captain Scarlet depicts hostile life on Mars, though the Mysterons of the TV series pose a greater threat than the "Rock Snakes" of the film in that they strike at Earth itself.[10] The rescue of Zero-X is similar to that of Fireflash in the Thunderbirds episode "Operation Crash-Dive".[10]
Frustrated with the limitations of the puppets and concerned that the TV series would not transfer well to the big screen, Alan Pattillo declined to direct the film.[4][13][14][15][16][17] The role was instead given to 24-year-old David Lane, who had directed several of the TV episodes.[4][13][14][15] This made Lane the UK's youngest film director at the time.[13]
The dream sequence set at The Swinging Star was spearheaded by Sylvia, who expanded it by scripting a musical interlude performed by puppet versions of Cliff Richard and The Shadows.[9][18] Richard and Shadows band member Bruce Welch both owned homes in Portugal near the Andersons, and it was there that the two agreed to "appear" in the film as Supermarionation puppets.[11][19][20][21] Having also agreed to contribute to the film's score, Richard and The Shadows recorded a song titled "Shooting Star" and an instrumental titled "Lady Penelope".[9][18] Sylvia acknowledged that the dream sequence does not advance the plot, noting in her autobiography that it was "sheer indulgence that would not have been possible on our television budget."[22] Stephen La Rivière, author of Supermarionation: A History of the Future, regards the sequence as the strangest ever created for an Anderson production.[21]
Voice cast
Voice actor | Characters voiced |
---|---|
Peter Dyneley | Jeff Tracy |
Shane Rimmer | Scott Tracy |
Jeremy Wilkin | Virgil Tracy, Space Colonel Harris, Washington Control |
Matt Zimmerman | Alan Tracy, Messenger |
David Graham | Gordon Tracy, Brains, Parker, Glenn Field Police Officer |
Ray Barrett | John Tracy, The Hood, Commander Casey |
Sylvia Anderson | Lady Penelope , Goldstone Tracking Station
|
Christine Finn | Tin-Tin Kyrano |
Paul Maxwell | Captain Travers |
Alexander Davion | Space Captain Martin |
Bob Monkhouse | Space Navigator Newman, Swinging Star Announcer |
Neil McCallum | Dr Pierce |
Charles Tingwell |
Dr Grant, PR Officer, Board Member, Woomera Tracking Station |
Cliff Richard | Cliff Richard Jr |
The Shadows | Themselves |
The Tracys, the other inhabitants of
are voiced, with one exception, by the actors who voiced them in Series One of Thunderbirds. Voice actors introduced in Thunderbirds Are Go are:- Jeremy Wilkin as Virgil Tracy. David Holliday, the original voice of Virgil, had returned to the United States following the completion of Thunderbirds Series One.[9][11][23][24] For the films and Series Two, the character was voiced by Wilkin.[11][23] Wilkin would continue his association with the Andersons for several years, going on to voice supporting characters in Captain Scarlet, Joe 90 and The Secret Service and appear in the live-action productions Doppelgänger, UFO and The Protectors.[23][25]
- Paul Maxwell as Captain Paul Travers. Having previously voiced Steve Zodiac in Fireball XL5, Maxwell later provided uncredited guest character voices in Thunderbirds Series Two, portrayed Captain Grey in Captain Scarlet, and made an appearance on UFO.[26]
- Alexander Davion as Space Captain Greg Martin. Davion later appeared in an episode of UFO.[27]
- Neil McCallum as Dr Ray Pierce. McCallum's later credits include appearances in Captain Scarlet, UFO and The Protectors.[27]
- Emergency – Ward 10, Tingwell was approached by the Andersons on the recommendation of Ray Barrett.[29] Like Paul Maxwell, he provided uncredited guest character voices in Thunderbirds Series Two, as well as providing voices in Captain Scarlet and making a guest appearance in UFO.[26]
- Brian Bennett, Hank Marvin, John Rostill and Bruce Welch are depicted in marionette form, but have no dialogue.[30]
Filming
The advantages were great. All members of the unit could now study the set-up and watch rehearsals without having to move the camera operator, saving a lot of his time because he could then concentrate on his job without continual interruption from the director,
continuity girl, art director and other technicians wanting to look through the camera.
— Gerry Anderson on the benefits of Add-a-Vision[31]
Pre-production lasted three months and a 16-week shooting schedule was drawn up to coincide with the filming of Thunderbirds Series Two.[4] Principal photography began on 3 March 1966 and ended in late June.[6][13][32][33] The staff at AP Films were divided into "A" and "B" units: A to shoot the film and B the TV episodes.[4][34] To accommodate its increased workload, APF bought two additional buildings near its site on the Slough Trading Estate, combining these with the pre-existing puppet workshop, art department building and publicity centre to form a production base of five buildings.[4][5][35] Converted by January 1966, one of these former factory units contained puppet stages while the other incorporated a single large sound stage on which all of the film's model and effects work would be completed.[4][5]
Thunderbirds Are Go was filmed in
The film was the first to be shot using a video assist technology called the Livingston Electronic Viewfinder Unit.[9][13][31] Also known as "Add-a-Vision", this system comprised a viewfinder that relayed images from the shooting camera to video monitors elsewhere in the studio.[9][13][31] This allowed the crew to examine newly filmed footage live on set and in better quality than before.[9][13][15][31] Add-a-Vision also helped the puppet operators, who were stationed on gantries several feet above the studio floor and could not easily monitor the puppets' movements.[32][31] In addition, the system incorporated a playback function for viewing rushes.[9][13][15][31] Based on German video assist technology, Add-A-Vision was developed by Thunderbirds director of photography John Read in collaboration with Prowest Electronics.[15][31]
To improve the look of the puppets, director David Lane often kept tops of heads and control wires out of shot and incorporated
Puppets
Promising Television Mail that Thunderbirds Are Go would be "bigger and better than anything we have ever done before", Gerry Anderson realised that any design flaws that showed up on the big screen would not be forgiven as quickly as those on TV.[4][13][34][38] The puppets were therefore expertly revamped, with new paint, wigs and costumes.[11][13] Models and sets were re-built from scratch with greater attention to detail.[13][38] Over the course of the production, APF's puppet wardrobe was expanded to include more than 700 costumes, with 150 extra costumes made as spares.[39]
Some of the established characters, including
The film puppets had the same body proportions as their TV predecessors. As filming progressed, APF developed a new prototype puppet with an
Set design
I had to insist on just tangerine and black, continually assuring [the art department] that it would look effective. As a producer, I was entitled to do it my way and, although I do not think Bob [Bell] ever really approved, I stuck to my concept. The result was quite a stunning sequence that stood out for its simplicity and economy of colour.
— Sylvia Anderson on the conference room design[22]
The art department directors, Bob Bell and Keith Wilson, divided their efforts: Wilson worked on Series Two while Bell concentrated on the film. Sets that Bell made for the film included the Glenn Field Control Tower and news conference room, the Swinging Star interiors, and re-designed versions of various locations on Tracy Island.[27]
The
Lane commented: "Thunderbirds Are Go was done like an episode but on a bigger scale. Whereas we would think that it might be nice to do a particular shot on the series but couldn't afford to, with Thunderbirds Are Go we just did it because we had the money."[1] In the Swinging Star scenes, background characters are represented by enlarged black-and-white photographs.[36] Anderson compared these scenes to a "Busby Berkeley sequence" due to their surrealism, aspects of which include a giant guitar and pink "space clouds" composed of dry ice.[22][28] She stated that the appearance of real-life celebrities in puppet form helped the film's promotion.[28]
Special effects
The Zero-X spacecraft, which was designed by Meddings, was built as a seven-foot-long (2.1 m), 50-pound (23 kg) fibreglass model at a cost of £2,500 (approximately £49,500 in 2021).
The film's effects later became so well known in the industry that the crew of James Cameron's film Aliens (1986) used them for reference.[37]
Editing
Post-production was completed in the autumn to allow the film to be released in time for Christmas.[1] The film was edited by Len Walter, who had previously worked on the TV series.[1][55]
The
The deleted scenes are now considered lost, with only still photographs and brief footage surviving. One of the photographs, showing Brains and Alan standing behind a TV camera as Jeff prepares to make his speech, appeared as the cover of issue 35 of FAB magazine.[56] Another shows the Hood standing in his jungle temple with a clapperboard in front of him.[57] Footage from the Trans American TV Network sequence was later edited into the Joe 90 episode "International Concerto".[58]
Post-production
With Walter's editing complete, composer
The film's animated opening titles present the main puppet cast and are accompanied by the re-recorded version of the "Thunderbirds March". The closing credits include a number of self-referential acknowledgements to individuals and companies alleged to have contributed to the production, such as SEC chairman Space Colonel Harris, Glenn Field's Commander Casey and the Century 21 "Space Location Unit". The credits end with the humorous disclaimer: "None of the characters appearing in this photoplay intentionally resemble any persons living or dead ... since they do not yet exist!"[8]
Release and reception
It was a wonderful premiere and it was absolutely packed. Everybody cheered and I remember leaving the cinema and the manager said, "You get a picture like this and they start queuing up at four o'clock in the morning." We went back to the Hilton for a fabulous party, where they had made all the vehicles in ice. The head of United Artists said to me, "I don't know whether it's going to make more money than Bond or not, I can't decide" ... The next day, the Dominion at Tottenham Court Road had about ten people in it.
— Gerry Anderson on the premiere and initial public response[60]
By December 1966, Lew Grade's attempts to sell Thunderbirds to American TV networks had failed. He instructed Gerry Anderson to cancel the production of Thunderbirds Series Two after only six episodes and begin preparations for a new series.[9][61] Around this time, APF was rebranded "Century 21 Productions"; this name was first carried by Thunderbirds Are Go to link the film to APF's tie-in comic TV Century 21.[1][2] The film was the first Anderson project to be promoted, in full, as a "Gerry Anderson Century 21 Production".[2][3]
After a well-received test screening for United Artists executives, Thunderbirds Are Go premiered at the London Pavilion cinema on 12 December.[1][2][3][16] The premiere was held in aid of children's charity Barnardo's with the Royal Marines Band Service performing the "Thunderbirds March" both before and after the screening.[37][60][62][63][64]
Critical response
[Audiences] were watching a film that exuded the same inventive spark, witty flair and oddball scenarios as the series itself. Multiple plotting, a sprinkling of monsters and a pop fantasy sequence including Cliff Richard and The Shadows ... were bolted on to the basic story of Zero-X, which would propel man to Mars for the very first time.
— John Marriott (1993)[16]
The film's December 1966 release came amid what commentators dubbed the "Thunderbirds Christmas" – a rush among retailers to sell Thunderbirds toys, games, books and other
Everything about Thunderbirds Are Go is visibly a technological progression from the TV programmes; the whole production looks more polished. The visual effects became more impressive ... The puppetry also developed. It became markedly more restrained ... now movement was more subtle and realistic, less puppet-like ... The set design had also matured ... all sets were now comparable with the slickest designs in live-action.
— Stephen La Rivière (2009)[36]
The Andersons began a tour of the country to promote the film. Around this time, it became apparent that public interest was lukewarm and the box office revenue mediocre.[3][60][62] According to Gerry Anderson: "When we got off the plane at the first destination we were told that the film was in trouble. Cinemas were apparently half-full. When we got to the next big city we got more news that made us even more depressed – box office figures were inexplicably low wherever we went."[3] He believed that Thunderbirds' origins as a TV series weakened the film's chances of success: "The only thing we could think was that at that time the audience was not used to seeing a feature film version of a television show. So people would see Thunderbirds and think, 'We've seen it on television.'"[66] Sylvia Anderson had a similar explanation: "Although we still had our loyal television fans, they remained just that – firmly seated in front of their television screens and not in the cinema."[69]
Supermarionation historian Stephen La Rivière suggests that the film was also facing strong competition from an influx of family films including
Alan's subplot lends the film psychedelic colour and a welcome dose of human drama, but mostly, Thunderbirds Are Go is about the hardware ... [Gerry] Anderson and SFX designer Derek Meddings make the most of this cinema version's extra scope, filling the screen with bigger, shinier craft, while director [David] Lane has more time to linger on the intricate detailing of the phallic models before they're blown to smithereens in the film's explosive action sequences. For the techno-fetishist, it's positively hardcore.
Writer John Peel comments that Thunderbirds Are Go is "well-made" and fulfils its promise to deliver visual spectacle.[71][72] He considers it superior to its sequel, Thunderbird 6, but suggests that the plot is partly recycled from the TV episodes and describes the dream sequence as "painfully silly".[71] Both La Rivière and Peel believe that the Thunderbird machines are underused.[66][71] La Rivière also suggests that the lengthy model shots and reduced role of the Tracy family may have disappointed the film's young target audience.[66]
Jeff Stafford of
In 2024, the film had a 57% approval rating on Rotten Tomatoes.[75]
Sequel
Dismissing the film's critical and commercial failure as a stroke of bad luck, United Artists told Anderson to make a sequel: Thunderbird 6.[9][13][60] According to Anderson: "None of us ... could understand why the film hadn't succeeded, so it was decided we would make another one."[76] The Andersons deliberately wrote Thunderbird 6 as a more light-hearted adventure.[77] However, the response to the second film was similarly lukewarm, spelling the end of Thunderbirds as a media franchise[78][79] until the release of the live-action film Thunderbirds nearly four decades later in 2004.
Other media
Books and comics
A novelisation by
A connection to Captain Scarlet was established in issues published between June and September 1967. In these issues, a follow-up expedition to Mars, led by Captain Black of the world security organisation Spectrum, ends in disaster when Black (as shown in the first episode of Captain Scarlet) falls under the control of the malevolent Mysterons. Zero-X returns to Earth and lands at Glenn Field, where the possessed Black avoids capture by the authorities.[82][83]
Soundtrack and home video
A re-recorded version of the score was released as a
Thunderbirds Are Go was first released on DVD in 2001, in
See also
- List of puppet films
- List of films set in the future
- List of films set on Mars
- List of films featuring space stations
- List of films featuring extraterrestrials
Notes
- ^ Though Jeff is shown to be reading a newspaper dated June 2066, the Andersons intended this part of the film to be set in 2067 (Bentley 2008, p. 303).
- ^ Surviving the helicopter crash, the Hood returns in the sequel, Thunderbird 6, as the villainous Black Phantom (Bentley 2005, p. 98). In her audio commentary for the DVD release of Thunderbird 6, Sylvia Anderson said that Black Phantom is the Hood's son and is seeking to avenge his father's death.
- ^ Craigsville is located in Florida (Archer and Nicholls, p. 116; Archer and Hearn, p. 140) and background shots filmed in Portugal for the climax are intended to represent that area.
References
- ^ a b c d e f g h i Bentley 2005, p. 38.
- ^ a b c d e f g h La Rivière, p. 142.
- ^ a b c d e f g h Archer and Hearn, p. 144.
- ^ a b c d e f g h i j Bentley 2005, p. 31.
- ^ a b c d e La Rivière, p. 131.
- ^ a b c d Archer and Hearn, p. 137.
- ^ a b Bentley 2005, p. 96.
- ^ a b c d Bentley 2008, p. 303.
- ^ a b c d e f g h i j k "Feature Film Productions". fanderson.org.uk. Archived from the original on 21 February 2008. Retrieved 10 April 2010.
- ^ a b c d e Archer and Nicholls, p. 115.
- ^ a b c d e f g h Archer and Hearn, p. 138.
- ^ Bentley 2001, p. 59.
- ^ a b c d e f g h i j k l m n o Bentley 2008, p. 302.
- ^ a b c d e f g h Archer and Hearn, p. 139.
- ^ a b c d e f g h La Rivière, p. 133.
- ^ a b c Supermarionation Classics, p. 159.
- ^ Supermarionation Classics, p. 180.
- ^ a b Anderson, p. 47.
- MGM.
- ^ a b c d e f g h Archer and Nicholls, p. 116.
- ^ a b c d e f La Rivière, p. 137.
- ^ a b c d Anderson, p. 67.
- ^ a b c Bentley 2005, p. 33.
- ^ La Rivière, p. 139.
- ^ Bentley 2008, p. 307.
- ^ a b c Bentley 2005, p. 34.
- ^ a b c d e f g h i Bentley 2005, p. 35.
- ^ a b c La Rivière, p. 138.
- ^ Bentley 2001, p. 29.
- ^ a b FAB Facts: How Cliff Richard and the Shadows Came to be in Thunderbirds Are Go. 11 December 2019 – via YouTube.
- ^ a b c d e f g h i j k l m Archer and Hearn, p. 140.
- ^ a b c Bentley 2005, p. 36.
- ^ Bentley 2001, p. 13.
- ^ a b c d La Rivière, p. 132.
- ^ Archer, p. 59.
- ^ a b c d e f La Rivière, p. 135.
- ^ a b c d e Archer and Nicholls, p. 117.
- ^ a b c Bentley 2005, p. 32.
- ^ Anderson, p. 44.
- ^ Anderson, p. 25.
- ^ Anderson, p. 26.
- ^ a b c d Bentley 2005, p. 97.
- ^ Bentley 2001, p. 16.
- S2CID 142878042.
- ^ a b c La Rivière, p. 151.
- ^ La Rivière, p. 168.
- ^ Bentley 2005, p. 40.
- ^ Anderson, p. 56.
- ^ Archer and Hearn, p. 141.
- ^ Meddings, p. 52.
- ^ La Rivière, p. 136.
- ^ a b c Anderson, p. 59.
- ^ Archer, p. 28.
- ^ Archer, p. 29.
- ^ a b La Rivière, p. 141.
- ^ "Front cover". FAB. No. 35. Fanderson. p. 1.
- ISBN 978-1-852831-64-6.
- ISBN 978-1-903111-41-3.
- ^ Anderson, p. 80.
- ^ a b c d Bentley 2005, p. 39.
- ^ Bentley 2005, p. 37.
- ^ a b Anderson, p. 103.
- ^ La Rivière, p. 143.
- ^ Archer and Hearn, p. 8.
- ^ Bentley 2001, p. 8.
- ^ a b c d e f La Rivière, p. 144.
- ^ Archer, p. 88.
- ^ a b Archer and Nicholls, p. 118.
- ^ La Rivière, p. 176.
- ^ a b "Film4 Review". film4.com. Archived from the original on 21 July 2011. Retrieved 10 April 2010.
- ^ a b c Peel, p. 244.
- ^ Peel, p. 242.
- TCM Movie Database. Archived from the originalon 19 September 2012. Retrieved 10 April 2010.
- ^ Gallagher, William (8 September 2000). "BBC Online Review". BBC Online. Archived from the original on 23 September 2004. Retrieved 10 April 2010.
- ^ "Thunderbirds Are Go". Rotten Tomatoes. Retrieved 24 February 2024.
- ^ Archer and Hearn, p. 159.
- ^ Archer and Hearn, p. 160.
- ^ Bentley 2005, p. 41.
- ^ Archer and Hearn, p. 164.
- ^ a b "Zero-X: TV Century 21 – 1967". The Gerry Anderson Complete Comic History. 1 September 2005. Archived from the original on 3 February 2008. Retrieved 13 April 2010.
- ^ "Zero-X: TV21 – 1968". The Gerry Anderson Complete Comic History. 1 September 2005. Archived from the original on 4 February 2008. Retrieved 13 April 2010.
- ^ Bentley 2001, p. 101.
- ^ Bentley 2001, p. 102.
- ^ "Thunderbirds Are Go Soundtrack Listings". soundtrackcollector.com. Archived from the original on 25 June 2008. Retrieved 13 April 2010.
- ^ "La-La Land Records". Thunderbirds Are Go/Thunderbird 6: Limited Edition Catalogue LLLCD 1306. Archived from the original on 15 August 2014. Retrieved 25 January 2015.
- ^ "DVD.net DVD Review". dvd.net.au. Archived from the original on 1 August 2008. Retrieved 10 April 2010.
- ^ "Sci Fi Movie Page DVD Review". scifimoviepage.com. Archived from the original on 3 May 2008. Retrieved 10 April 2010.
- ^ "ReelFilm.com DVD Review". reelfilm.com. 23 July 2004. Archived from the original on 17 August 2007. Retrieved 10 April 2010.
- ^ "DVD Clinic DVD Review". JoBlo.com. Archived from the original on 27 January 2013. Retrieved 10 April 2010.
- ^ "DVDtalk.com BluRay Review". DVD Talk. Archived from the original on 18 August 2014. Retrieved 25 January 2015.
- ^ "Thunderbirds Are Go / Thunderbird 6 Blu-ray". Blu-ray.com. Archived from the original on 5 October 2017. Retrieved 8 June 2017.
Works cited
- ISBN 978-1-932563-91-7.
- ISBN 978-0-00-638247-8.
- Archer, Simon; Hearn, Marcus (2002). What Made Thunderbirds Go! The Authorised Biography of Gerry Anderson. London, UK: ISBN 978-0-563-53481-5.
- Archer, Simon; ISBN 978-0-09-922442-6.
- Bentley, Chris (2001). The Complete Book of Captain Scarlet. London, UK: ISBN 978-1-84222-405-2.
- Bentley, Chris (2005) [2000]. The Complete Book of Thunderbirds (2nd ed.). London, UK: Carlton Books. ISBN 978-1-84442-454-2.
- Bentley, Chris (2008) [2001]. The Complete Gerry Anderson: The Authorised Episode Guide (4th ed.). London, UK: Reynolds & Hearn. ISBN 978-1-905287-74-1.
- ISBN 978-1-932563-23-8.
- Marriott, John (1993). Supermarionation Classics: Stingray, Thunderbirds and Captain Scarlet and the Mysterons. Rogers, Dave; Drake, Chris; Bassett, Graeme. London, UK: ISBN 978-1-85283-900-0.
- ISBN 978-1-85028-243-3.
- ISBN 978-0-86369-728-9.
External links
- Thunderbirds Are Go at IMDb
- Thunderbirds Are Go at AllMovie
- Thunderbirds Are Go at the TCM Movie Database