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Somebody like a Piggy or a Kermit, there needs to be several versions and so there will be several of them.
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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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I've never felt any sense of competition with anybody, and we're all friends; we're all good friends.
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Even as a kid, I felt isolated. Isolation makes you sensitive. As a kid, I felt I was the only person who was like that. But there's a good side to isolation. It makes you sensitive, and sensitivity is part of the creative process.
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Frankly, I'm a lot more comfortable if I'm wearing a puppet.
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I think it's good to be your own person. But individuality is a mixed blessing. People who are 'different' are isolated.
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It's an adventure story. But it's definitely not in our world.
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There are so many forms of puppets. The ones on 'Sesame Street' are probably the most simple that we do.
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My hope still is to leave the world a bit better than when I got here.
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I really began to appreciate puppetry while doing Sam and Friends.
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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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When you trick people into laughing at themselves, that's wit. If you don't laugh at yourself, everything becomes heavy.
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I know parents are often concerned: 'Oh, no, I wouldn't take my kids into the studio because it would destroy all their illusions.' It's a fairly adult concept.
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I wanted to do a film where the creatures didn't look like us.