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The viewing audiences were fixated on the strange looking stuttering host and nobody involved in the making of the series had envisaged the huge response from the public. The character was originally intended to be a talking head that linked music videos together using witty and often nonsensical dialogue throughout each episode of the show, but that all changed when he became more popular than the music promos being shown. It was shown in April 1985 just a few days before the first episode of The Max Headroom Show, both film and series were instant hits.
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The background story of Max Headroom was told in a one hour television film entitled Max Headroom: 20 Minutes Into The Future that was centred around the character of TV reporter Edison Carter (also portrayed by Frewer) being silenced by the network he was working for, before being left for dead after his mind had been copied and transferred inside a computer. Traditional hand drawn animation was used to create the rotating lines behind him and innovative video editing techniques by Roo Aiken added to Frewer’s performance, which was so convincing that the viewing public at large believed that Max was really computer generated. He was portrayed by American born Canadian actor Matt Frewer (born 1st January 1958, Washington D.C.) wearing special prosthetic make-up in a fibreglass suit created by John Humphreys. Although he was supposed to be the world’s first computer generated artificial intelligence television presenter, Max himself was a combination of various elements without the use of any CGI.
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Max Headroom was a fictitious British television character created by directors Rocky Moreton and Annabel Jankel with writer George Stone to present the Channel Four music video series The Max Headroom Show. The resulting album, The Seduction of Claude Debussy (1999), was another attempt to raid the 20th Century's musical forms, this time focusing on the life and work of longtime influence Debussy. In 1998, Horn, Dudley and Morley temporarily reformed The Art Of Noise with the addition of guitarist Lol Creme. Langan moved on amicably in 1987, leaving Dudley and Jeczalik to carry on until they, too, called it quits in 1990. An acrimonious split in 1985 left Art Of Noise as a trio, sans Horn and Morley, and with a more tongue-in-cheek musical direction. Writer Paul Morley was brought in to tailor the group's image, which was at first that of a faceless "non-group" inspired by early 20th Century modernism. Jeczalik, who were working together with producer/performer Trevor Horn and pianist/composer/arranger Anne Dudley on several of Horn's productions for other artists. The Art Of Noise began as a project of studio engineer Gary Langan and Fairlight sampler whiz J.J. Although only a relatively small amount of original material was commercially released during the project's active periods (1983–19–2000), the Art Of Noise's legacy includes scores of reissues, remixes, and compilations of previously released and unreleased material. Often cited as a pioneer in electronic music and sampling, The Art Of Noise used technology to rework the same recordings many times over, a novel approach at the time. The Art Of Noise, an art-pop group established in 1983, scored hits with "Beat Box", "Close (to the Edit)", "Moments in Love", "Paranoimia", and cover versions, with guest performers, of "Peter Gunn" and Prince's "Kiss". The Art Of Noise With Max Headroom - Paranoimia (1986)Īrtist: The Art Of Noise With Max Headroom