Quotes of All Topics . Occasions . Authors
You get used to it, you look forward to the adrenaline of the stage fright before you go out.
Probably though, by the time I was 17, I already knew that I was probably going to go into film
And it should be something that only that group of people could've made with everybody invested.
I was already sort of mixing my science physics enthusiasm with entertainment and directing and puppetry.
But if everybody's trying to stay safe, then you never really create something new and different and surprising.
This is certainly the raunchiest, if you use that word, raunchy. The roots of Jim Henson, though, was adult comedy.
I think it's a lot richer than what we call fleshy improv, I think it's very funny, puppet improv and fleshy improv.
My dad and mom were, they would take what were popular hits, and lip-sync to them with puppets and do a ridiculous story.
So that's the challenge, you have a big technical aspect of what you're doing whilst you're creatively trying to improvise.
he puppeteers really responded to it. Patrick Bistrow really responded to it, it's great fun to do improve comedy with puppets.
And with puppets, especially in our company, we sort of demand a very high standard of puppetry, so it's a real technical skill.
But initially when I was working with my dad, it was in special effects puppets with radio control and motors and puppet effects.
I was 17, certainly by the time I was 19, I knew that show business was where I was going to end up, and I had my sights on being a director.
I try to emulate his approach of really get the most out of people by allowing them to experiment and certainly allowing people to make mistakes.
Oh, well, I can't tell you; it would be telling you the end. It's a one-character lip-syncing because in the early days, that's what my dad was doing.
But the fact that most of the show you can't be prepared for, you have no idea really what's coming is initially very nerve wracking, by now, it's kind of fun.
So while you're trying to improvise, you're also trying to puppeteer, you're doing everything that you need to do to perform a puppet in our style, for a camera.
It's actually good when the performers are nervous, because it kind of sharpens up your brain and a little bit of adrenaline is good. Initially it's really tough.
People would say to him, "When you finish a movie, did it come out as good as you thought it was going to?" Or, "Did it come out the way you intended it to come out?"
We kind of lost a lot of that and puppeteers were sticking to the script and we thought everything needed to get a lot funnier, so we thought we would go to a good improv comedy instructor.
In many ways, I think it's easier in some ways, or it's more entertaining or more guaranteed to be entertaining than traditional improvising. Again, because you're not just you in your body.
And that was always my father's favorite part about shooting as well. Often my dad would shoot very, very late, he was quite a workaholic, they would do 20, 20-hour shoots and stuff like that.
And if the audience is in a kind of naughty, raunchy mood, then they're going to make naughty, raunchy suggestions and then we take them and we do the scene anyway, and that's part of the fun.
I thought, well, if we're inviting an audience, let's do it right. So I put in a proper studio audience at our studios in Los Angeles and it was just a little showcase and it was just for fun.
We try to keep it a classy show, but it certainly is blue at times. And it all depends on the audience, sometimes we've have audiences that don't really want us to go too far in that direction.
The challenge is, well, there's a huge challenge, which is when you're improvising, you're meant to sort of clear your mind completely, just be open and funny, and paying, you know, paying attention.
I always very much enjoyed arts and it was so central in my family, my mother was also an art teacher, as well as founding the Henson Company with my dad, there was a lot of art going on in our household.
Really, initially what I very quickly realized that I was loving about the show was, because it reminded me of when I was a kid and I would visit the sets where my dad was shooting with the other puppeteers.
There's an awful lot of scenes where we don't know what the scene's going to be about, we ask the audience, pick a place that the scene is happening, pick the relationship, tell us who they are, things like that.
It was actually what my dad did and with the Muppets, the years with the Muppets, it was really all targeted to adults. It was in a time when everything had to be safe for the whole family. But he was targeting adults.
The show is probably 60 percent improvising and 40 percent not. So there's quite a bit of it that we do have prepared and that part of it, you have memorized and you've rehearsed and you're prepared, just like any show.
It's really great to do one piece, "I've Grown Accustomed To Your Face," my dad developed in 1956, when he was 20 years old, and it's great to do that piece again now and see that it still really works as well as it ever did.
But curriculum-wise, I was drawn to the sciences and specifically to physics, and I really enjoyed it and I think for a little while there, I was really thinking my schooling would be in physics, that that was something I loved.
We took a show to the Aspen Comedy Festival, called "Puppet Up" at that point, and in Aspen we just did three shows, and in Aspen, there was a producer from the Edinborough Fringe Festival, who said, "Please come to Edinborough."
I think initially it's terrifying because going into a show where, you know, "Oh, I'm going to be on stage for two hours, I have no lines to memorize, I have nothing really prepared," and actually I say that, the show is not all improvising.
Where does a character come from? Because a character, at the end of the day, a character will be the combination of the writing of the character, the voicing of the character, the personality of the character, and what the character looks like.
We wanted to premiere it in New York, because New York is sort of the home of the Jim Henson Company and it's sort of the tone and flavor, always, of the puppet work that we've done traditionally. And that's what brought us here and now we're here.
We're also irreverent, we have an irreverent attitude towards puppets, as well. So a lot of what we do is we're kind of making fun of the puppets for being puppets, even while we're doing it. And again, that all feeds into the absurdity of this show.
I guess I learned a couple of good lessons from my dad. One was when you're creating something, what you want when you're working with a team of other artists, is everybody to work with some creative freedom, so that you really get the best out of everybody.
First of all, you're improvising through a puppet, so you're not always yourself: you're a cow or you're a pig or you're an old woman, you know, whatever puppet you pick, or you're a demon, you know, whatever you pick up, that's what you get to be in the scene.
We are deeply saddened to hear about the passing of Jonathan Hardy. The clever wit and joy he brought to his performance of Rygel was a true gift to the world of Farscape. My sincerest condolences go out to Jonathan's family and to his many fans around the world.
"Stuffed and Unstrung" started as a workshop, actually, classes within our company. We found that our puppeteers were not ad libbing as well as traditionally, Jim Henson Company puppeteers have. We're sort of famous for going off script a little bit and ad libbing.
In the show, we have recreated two sketches that my dad had, or pieces that my dad had developed. One that he had developed with my mother, one that Frank Oz had developed with my dad. And these are old pieces from the '50's and '60's, and we're going to develop more, too.
Patrick thought we should try to put an audience in front of one of the workshops, basically in front of the class and see how the performers rose to having an audience there, because he said, "You know, it's a really interesting test, because sometimes it gets even funnier."
And it was a whole lot of fun, and in many ways, what we've done with the show is just taken that part of my early memories of visiting my dad, shooting with the Muppets, and taking that and making a show that's really an expansion of that and presenting a show that's all that.
And then after the success at Melbourne Comedy Festival, then we regrouped back in LA and we went back into workshopping and decided to develop a proper show and that's when we started working on "Stuffed and Unstrung," which is a much bigger and sharper version of "Puppet Up."
I think in a creative effort, in any creative effort, you need to, people need to be able to be taking risks and if it turns out to be a mistake, if it turns out not to have been the right choice, that should be applauded, you know, by everybody, and it will come up with another plan.
we sent a troupe to Edinborough, and then in Edinborough, there was a producer from the Melbourne Comedy Festival, so we went to Melbourne. So it's one of these shows that kind of organically developed and it started developing momentum way before I even thought there was a show here.
The first show that my dad and my mom did together was for, was a comedy series, a short form that went in the middle of late-night news, and then through all of their career, it was always the "Ed Sullivan Show," it was a variety act, my dad was on the "Jimmy Dean Show" for a few years.
The first big thing that I did with my dad was the bicycle sequence in "The Great Muppet Caper," where Kermit and Piggy are riding bicycles in Battersea Park in London and that was a complex marionetting and cranes driving through the park, it was a complicated scene, and I did that with my dad.