 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 <unk> of Anderson 's commitment to " incremental realism " through a convergence of human and puppet characteristics . <unk> Jonathan Bignell suggests that the use of portraits conveys Anderson 's <unk> to " visual revelation of machines and physical action " . 
