Jim Henson Quotes
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We thought it would be fun to try to design a show that would work well internationally and so that' s what we're intending to do with Fraggle Rock, and we are indeed now selling it around the world.
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There was a little afternoon show that was called Afternoon. Back in those days in television, most local stations had a midday show for housewives that had a series of things. It was like a variety show for midday.
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In actuality, Muppets was a word we just coined. It was merely to be the name of our act. ... I used to say to people that it was a combination of 'marionettes' and 'puppets.' ... But then I stopped telling this lie, and I'm back to the truth: It just came out of midair.
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There must be a lot of shy actor in puppeteering. His work is the puppeteer's statement. It's his outlet. If I had to face the audience myself, as Jim Henson, I'm sure I'd be just a bit shy. But when it's your puppets that face the audience, it's different. That I can do very easily.
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Personally, I prefer working in the background.
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NBC was trying to convert all of their local programming to color right away to encourage the sale of the sets, so I barely remember working in black and white, although I do know that I did do it, but there was not a major difference, though.
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I decided that what I really wanted to do was go off and paint.
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Honestly, I've been making up everything as I go. When you're riding the ice pony, you see a lot of talking frogs.
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If you're doing a large, complicated character with radio controls, it might take a number of people several months to make it and if you're talking about a quick little hand puppet, it could be made in 2 days, so there's enormous range there, and no real easy generalities.
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A lot of the shows relate to interrelationships and attitudes, again, always trying to do it within the context of a very entertaining show.
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If anything, there's a difference in working with color in England and the color in the US.
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With Big Bird we knew we wanted to do a large, a great big character. He should represent a child so he can make the kinds of mistakes that kids make, and talk about it and be out front about that.
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Many creative people have a certain degree of dissatisfaction with the status quo, the established way. If you look at things differently, you are thought of as 'different.' In turn, 'different' people are thought to be 'mad.'
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The most sophisticated people I know - inside they are all children.
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I think my own strengths are in television production.
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Yeah, we pretty much had a form and a shape by that time - a style - and I think one of the advantages of not having any relationship to any other puppeteer was that it gave me a reason to put those together myself for the needs of television.
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I was very interested in theatre, mostly in stage design. I did a little bit of acting.
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Puppetry's a lot harder than people realize, and it's particularly difficult doing a movie. You have this scene with all these puppets, and when something goes wrong, you've got to set the whole thing up to do it again. With people, you ask an actor to walk across the room a second or third time, and he does it. That's it.
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Yeah, I did some small parts in high school and the first year of college and then fairly soon thereafter I settled into the backstage scenery, and then at the University of Maryland I was doing posters for their productions.
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At the time of Polaroid - and I did a couple of other commercials just before I stopped doing that stuff - at that point I was at the level where they respect you and your opinion and all that sort of thing.
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It's a rather dark vision, actually.
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No, there's not much competition between puppeteers in general because everybody's working their own style.
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When I was a kid, I never saw a puppet show. I never played with puppets or had any interest in them.
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Actually the copies of characters is something I don't particularly like to talk about in articles but just for your information, most characters there's only one.