Puppet Quotes - Page 2

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The people at the top of the league think they need to rein me in so I don't become another Michael Jordan, somebody they aren't able to mold and shape and make their puppet.

In preschool, I would plan out my show-and-tell every week to be funny and exciting. Then in first grade I wrote a play, and my classmates and I performed it as a puppet show.

When I worked on 'The Daily Show,' we had some puppets made of myself, John Oliver, and Jon Stewart. When I left the show, I stole the puppet. I took what was rightfully mine.

Puppet Papademos is in place, and as Athens caught fire on Sunday night he rather took my breath away - he said violence and destruction have no place in a democratic country.

The very first audition, you just go in and sing. The second one, they give you this sort of cheapy, Walmart-looking puppet - before they give you the $6,500 'Avenue Q' puppet.

I don't know why a computer game can't be an art form just as a puppet show or an opera is. I'm still interested in computer games as something I would like to work on someday.

And there's a visceral fun in watching Team America and making it, like taking a puppet and throwing it against the wall. Because it's not CG, there's something funny about it.

I always loved that solitary experience of making things. There's a solitary aspect to animating... It's ultimately the animator and the puppet coaxing a performance out of it.

I used to do puppet theatre and also mime and musical theatre in Florida for competitions and festivals, which was great. I was very much involved in theatre when I was in college.

I'm not really a 'puppet' person in particular; I think they are very theatrical, and I've found different uses for them in shows, but my true interest is in writing Broadway musicals.

Funny enough, there have been puppets in everything I've written because I have a huge love of puppets. There's a big puppet musical at the end of 'Sarah Marshall.' I wrote 'The Muppets.'

I usually hold a puppet and play with different voices until something happens and the right voice just hits me. Then, I'll pick a name that just seems to fit the character that naturally comes out.

I don't really want to be known as just the puppet girl or just a singing ventriloquist. I want to be known as the performer, singer, ventriloquist, actress, Broadway star, all of it. I want do it all.

I never really did years of movie-after-movie-after-movie but when you've got three toddlers in the house you're performing all day long, anyway, with puppet shows and stories - I act around the clock.

Puppet camp truly redefined my preconceptions of puppetry... I'll never forget learning that before a puppet can speak... he has to inhale. It's those details that make the characters truly come to life.

I'd always thought that, in all the great sci-fi constructs, there's always the guy who seems like he's the commander, but then you reveal that there's an even bigger puppet master up above and beyond him.

I was too restless as a boy to sit through an entire mass. It was akin to aversion training. I looked at it like a puppet show with a totally predictable story line. The only aspect I really liked was the music.

People have said I'm a puppet, an instrument of my grandfather, but I think they quickly realised that I'm my own person, that I have autonomy in my actions. I think they rapidly realised I could look after myself.

When I'm gigging, there's an uneasy shift when I pull a puppet out. People look at me aghast and I feel I have about 20 seconds to win them over. You even get the prejudice among other people in your own profession.

One day, my brother had his friend over, and they were in the laundry room, and I stuck my puppet's head around the door and then started chasing them with it and made my puppet laugh very scary. It was really funny.

The puppet characters were combinations of people I had known and to some degree aspects of my own personality. Weird was based on someone I knew in Chicago. Dirty Dragon was based on a good friend I had in Indianapolis.

It is no accident that I made Cartoon Town a simple little village - in many ways it mirrored my home town. And, yes, many of my puppet characters took on some of the more eccentric characteristics of people I knew there.

My first job was a commercial for a Swiss insurance company. It was an eight-minute short with a proper story arc, and it ended up getting a spot at Cannes Lions; I was lucky to avoid the commercials where you're their puppet.

At the end of the day, it seems like there's a critic archetype for food movies, like with 'Ratatouille' or anything. You know, if you were doing a puppet show about chefs, one puppet would be the chef, one would be the critic.

You wouldn't find a Joni Mitchell on 'X Factor;' that's not the place. 'X Factor' is a specific thing for people that want to go through that process - it's a factory, you know, and it's owned and stitched-up by puppet masters.

The pretty fellows you speak of, I own entertain me sometimes, but is it impossible to be diverted with what one despises? I can laugh at a puppet show, at the same time I know there is nothing in it worth my attention or regard.

I'm no financial expert. I scarcely know what a coin is. Ask me to explain what a credit default swap is, and I'll emit an unbroken 10-minute 'um' through the clueless face of a broken puppet. You might as well ask a pantomime horse.

I am drawn to writing and directing as it is most like the feeling I had when I was a teenager with my puppet theatre. You are more in control of everything and involved in every aspect of production, so more challenged and fulfilled.

A little before my 10th birthday, I was like, 'Can I please have a puppet, Mom and Dad?' They were like, 'No. You are a singer, not a ventriloquist. You have three brothers, and you're in gymnastics. There's no way we have time for this.'

My aunts and uncles were like, 'You've got such a great voice - why don't you try out for 'American Idol?'' I'd say, 'Because I'm a songwriter, not a puppet.' Even if I won and became really successful off a show like that, I'd be miserable.

One time, it was really funny, I was going on stage... and they were like, 'Oh, we didn't mic the puppet! Mic the puppet!' So, that's how I know that sometimes I do a very good job, because they think that the puppet is actually, like, real.

In my opinion, Donald Trump lives a life of loving and helping others as Jesus taught in the great commandment. He cannot be bought; he's not a puppet on a string like many other candidates... who have wealthy donors as their puppet masters.

The idea of God as a fatherly figure who looks down on us and worries about how we're doing or takes sides when we have fights - it's more irritating than Santa Claus. The world and the universe are far more wonderful if there's not a puppet master.

There are those on Wall Street and in the plutocracy who feel that Geithner is a hero who deftly steered the country from economic ruin. To many ordinary Americans, however, he is considered a Wall Street puppet and a servant of the so-called banksters.

I tried to do a puppet show on the streets, and I wasn't a very good street performer. But I found that I could stand in one place in Central Park and bounce a soap bubble on my arm, and I didn't have to gather a crowd for the puppet show. I had a crowd.

A lot of times, people assume that I write all the songs: that I arrange them and I stick Kevin up there as kind of a puppet or something. It's absolutely not that way. In fact, he writes probably 60 percent of the songs, and I write probably 40 percent.

Film has become a very passive experience, but with theatre, there is a contract made with the audience, where they participate. That's why my parents' puppet theatre was such a special place - people used their imaginations. It's a muscle that needs using.

I'm not standing above the audience trying to manipulate them as a puppet master or a trickster; I'm inside the story I'm writing and making and thinking about things very seriously and feeling very deeply at times, and trying to translate that into a narrative.

I've never had anyone put on a puppet show to convince me of anything. And I've done a lot of stuff. I don't know that I would put the puppets on when I was pitching a show. This was the head of the studio putting a puppet show on. And I'll tell you, he wasn't bad.

Billionaires like the Koch brothers, casino mogul Sheldon Adelson, and political puppet master Karl Rove should not be able to buy our elections. Secret money should not be able to drown out the voices of the American people and sell our Democracy to the highest bidder.

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.

My message to women is it's okay not to toe the party line on every issue. You don't have to be a puppet or a mouthpiece for your party on every issue. You can be an independent thinker; you can take it issue by issue, and that's okay. You shouldn't be told, 'You can't sit with us.'

When I was eight, I bought my first puppet. It was a monkey, and I paid five cents for it. I collected some scrap wood and built myself a puppet theatre. I made 32 cents with my first show, which I thought was pretty good, and that's when I knew I would be a puppeteer when I grew up.

I mean, we make a 15-minute show that's incredibly silly, even though all of our scenic designers, puppet builders. animators, everybody that works on the show take their work very seriously. So somebody saying that we'd even be in contention for a very respectable award is really nice.

The pop-star thing bores me because it's somebody programming someone else. Stand over here, sing that, no, sing it like this, talk like that, when they ask you this, don't say that, say this, hold that, drive this, stay here, live there - you're not even a human being. You're a puppet.

Miramax seems to be showing the same faith in Roberto Benigni's 'Pinocchio' that the Republican Party showed in Trent Lott; the live-action version of Carlo Collodi's fairy tale about the wooden puppet whose only ambition was to be a real live boy was sneaked into theaters Christmas Day.

I was a kid in the 1970s and '80s, and I was definitely inspired by Jim Henson's 'Muppets' and 'Sesame Street.' I was very curious about what was going on underneath the puppets I saw on screen. I made my own puppets, did puppet shows for schools, PTAs, churches, and the kids in my neighborhood.

We used to do sock puppet shows for my auntie back in the day. Me and my friends would do accents of Englishmen, and we would sip tea and act like we were rich in front of the family, and they thought it was just hilarious, the level of perception that we had about things that we'd never experienced.

A puppet, for example, is just a piece of wood, a couple of rivets, but put them together, and if you know how to do it, and the audience's imagination joins in with this, then a miracle will come out of that machine. That is what we and the audience do in the theatre - we create miracles in that space.

I think of being an actor as kind of a young man's gig. It's emasculating, in a way, people messing with you and putting make-up on you and telling you when to wake up and when to go to sleep, holding your hand to cross the street. I can do it up to a certain point, and then I start to feel like a puppet.

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