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The following is an interview with Darren, Iconagraph's own intrepid Managing Director.

CIR: Thanks for taking the time to speak with "Calling International Rescue," Darren! Firstly, could you please tell us a bit about your background in art and how you came to be involved with Iconagraph?

Darren: I've been working in theatre, television and art marketing and promotion for more than twenty years. Over that time, I had worked with many actors and artists promoting exhibitions and appearances of the talent behind many of the shows, including most of the cast of The Simpsons, Don Messick (Jonny Quest, Scooby-Doo) and Jean Vander Pyl (The Flintstones) from Hanna Barbera, various Disney artists and Gerry Anderson. About three years ago, I discussed with a business colleague the idea of creating a company that would produce collectible art of exceptional quality and from that came the Iconagraph concept. Our aim is to produce limited editions using the best quality materials available and have each one signed by the talent involved in the show. After a year of research, we discovered an exceptionally talented printmaker who has helped to develop the inks and the papers we use to produce our products.

We created a long wish list of ideas we could pursue, but the first product idea was to produce a limited edition series of Ron Embleton's�stunning end credit paintings featured in all the episodes of "Captain Scarlet and the Mysterons," a favourite show of mine. I used to be mesmerized by those images as a kid every time the show was on television and I was lucky enough to buy one of the original paintings when they were auctioned off. I thought it was sad that the collection was being split up, but a germ of an idea sat at the back of my mind. The copyright of all the images is owned by Granada. as is most of the Anderson catalogue, and so began a rather long and protracted negotiation to produce the edition. After that, it took months to track down usable images of the set and finally the samples were produced. They were so dazzling everyone who saw them wanted one of their favourites, so we decided to go ahead with that earlier this year. Meeting Francis Matthews---the voice of Captain Scarlet and a true gentleman---was a joy and I'm pleased to say that everyone loves the end result, with Captain Scarlet fans able to own a complete set of accurate reproductions of the images.

CIR: What's the history behind the giclee print project celebrating the 40th anniversary of "Thunderbirds?" Whose idea was it and how long did it take to go from start to finish?

Darren: I was aware while researching the Scarlet project that Thunderbirds was about to celebrate its 40th Anniversary and couldn't resist the idea of producing an art programme for it. However, there is not such obvious art to produce from the show as there is in Captain Scarlet. I asked Granada to let me see the Thunderbirds archive, and many months later I finally got permission to see it. Boy, was I disappointed. Sadly, there is not very much there and nothing created that spark. So I went back to the drawing board and sat with friends and watched a few episodes to get some ideas. You know, every time the opening titles start, it still sends a chill up my spine and I'm soon lost in those wonderful stories! Anyway, as soon as Jeff started talking to one of the boys on one of those fantastic portraits that turns into a monitor, I knew that's what we had to produce.

CIR: How was it decided which images to use for the portraits? Was this up to Granada or other entities? And was it difficult to find the Tracy brothers' portraits or just the right look for Lady Penelope?

Darren: Well, I decided it was only worth using the portraits that appeared in the show or the films and we managed to track those down - eventually!�We had access to various images that were (either) not quite good enough or the correct images from the show, and after producing proof after proof, I was never quite happy with the result. I was so disheartened that we were on the verge of scrapping the project. Eventually, I discovered a definitive set of images of the Tracy boys, and we produced yet another set of proofs, which I'm pleased to say are perfect! I'm sure somewhere there is a loft full of Anderson goodies: images from the show, portraits and scripts---a real gold mine kept by a fanatical Thunderbirds collector. Sadly, I haven't found them yet, but if you meet them, put me in touch!

As for Lady Penelope, we haven't been able to track down the portrait used in the frame on the series, so, having looked through the other images of her, the idea for her artwork came to me in an instant! She is such an iconic figure and, of course, the pop art era created iconic images of many stars of the 1960s and 1970s. So why not give Lady Penelope the same treatment? I asked an artist colleague of mine in New York called Matthew Waldman to create a pop art image of Lady Penelope and was very pleased with the result. Of course, I wanted Sylvia Anderson, who created the character, to view what we had done, and I am pleased to say that she loved it---so much so, in fact, that one of the edition is hanging with pride of place in Sylvia's office! She consented to signing each one and I am delighted to add it to our portfolio of editions.

CIR: Since you're also a "Thunderbirds" fan, what did you expect from the project and are you pleased with the outcome?

Darren: I just wanted to create something that I would be proud to own and hang on my wall. Sometimes that can 'blind' you to the commercial realties. Things you love, other people hate and vice versa. There is so much tat out there in the collectibles market, too. You only have to go on eBay and see what people are trying to flog you, and the provenance of much of the signed stuff is highly dubious. Our mission was to produce the best quality collectible which is completely licensed and authenticated. We have also made the decision to bring the printing in-house, which means that we can produce the art at a more affordable price and make it available to more collectors without compromising any of the quality.

CIR: Did you meet with the voice artists and creative team involved and, if so, what did they think of the prints? Were they cooperative or was it difficult to get them to participate?

Darren: Tracking down the voice artists was fun! Their names aren't listed in the phone directory, as you can imagine! However, I managed to get hold of Matt Zimmerman---the voice of Alan Tracy---who is an amazing organiser! Within the hour, I had appointments to meet them all and within the week the art was signed. They all have great stories to tell about the shows they did and are proud of the legacy they have given the fans. Unfortunately, I've not been able to get hold of Ray Barrett---the actor who provided the voice of John Tracy---who lives in Australia, so I approached Sylvia Anderson, who as you know is co-creator of the show and created all the characters too. It seemed appropriate to ask her to sign John's image and I'm pleased to say she was more than happy to cooperate.

CIR: What would you expect to be the appeal of these pieces to fellow fans of the series?

Darren: The idea of having the portraits of "The Tracy Boys" hanging on your wall and signed by the talent behind the show must be very appealing to any real Thunderbirds fan! Iconagraph wants to create pieces that bring back fond memories and these definitely do, and, as we are only producing 100 sets of them, it makes them all the more desirable.

CIR: Are there plans in the works for more collectible "Thunderbirds" pieces from Iconagraph?

Darren: Yes, there are. The Hood is an obvious candidate, as well as Parker! David Graham, who provided the voice, is very fond of his creation and it would be an honour to produce something appropriate of Lady P's 'umble servant! We are also talking to other people involved in "Thunderbirds" and as soon as we can reveal all, you'll be the first to know!

CIR: Thanks for your time, Darren! It was FAB to visit with you!

Further information on these gorgeous works as well as other animation art (including the Captain Scarlet closing credit art portfolio) can be obtained from Iconagraph's webiste "www.iconagraph.com" (click linked banner below), via e-mail to "[email protected]" or via phone on 44-(0)-20-7723-6006