You co-wrote a book on computer graphics before Max Headroom, and Max was a masterpiece of basic, textureless phong shading, from the look of it. So it wasn’t really surprising at that time, just very rewarding that something that we had been working on so intensely seemed to resonate. Probably we were unconsciously generating and bouncing back a mood of post-punk, where experimentation was expected, and rewriting the rules to express yourself fully, was mandatory. I think that when you are “inside” the movement, you don’t really see what’s happening outside, or how it’s affecting the scene. Max Headroom caught the cynical mood of the second half of the 80s right as it started – was that a coincidence that surprised you? Many people consider the 80s divided into two distinct sections – post punk/post 70s and then ‘yuppie’.
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It was prophetic on a visual level, as Rocky Morton and I had a fascination with computer graphics, but obviously a fully computer generated character was yet to be fully realised – bar “user friendly” at Nyit, a huge source of inspiration – but we could see how animation would harness this technology and what it might look like, glitches and all, in the near future.īlank Reg fighting for his life on a Courtroom TV game show must have seemed over the top back then – moreso than it does now? In many ways it was in sync with other pieces of its time: Blade Runner and Brazil for example, which unbeknownst to us was filming on the next stage to where we were shooting Max Headroom, the film. Dick aficionado and might say that if anyone was prophetic – it was Philip K. Maps and weather on Prodigy, and hugely dull, so we could only speculate the potential. For example, when we wanted to research the early Internet at that time, it was largely only govt. Yes I believe it was somewhat prophetic, on certain levels – especially the CCTV now so evident everywhere – and to some extent mirrored the fears that we could only imagine, the worst and best of where technology was going. Aside from the obvious technological anachronisms, was it a prophetic show? We had been experimenting with live action and embryonic computer graphics, and the title The Max Headroom Show was more about evoking a sense of limitless possibilities than about a character at that early stage of development.īased on Bryce Lynch’s age in the Chrysalis pilot, we are now exactly twenty minutes into the future, as it were. George Stone proposed the title, and Rocky Morton and I had an animation company called Cucumber Studios doing commercials, music videos, and titles.
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