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.
BRIAN HENSONI 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.
More Brian Henson Quotes
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To anyone who’s trying to be an artist, in any medium, it’s a very odd and lonely and nerve-wracking and scary process when you let anybody see what you’re working on.
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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.
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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.
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This is certainly the raunchiest, if you use that word, raunchy. The roots of Jim Henson, though, was adult comedy.
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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.
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I think it’s a lot richer than what we call fleshy improv, I think it’s very funny, puppet improv and fleshy improv.
BRIAN HENSON -
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.
BRIAN HENSON -
And with puppets, especially in our company, we sort of demand a very high standard of puppetry, so it’s a real technical skill.
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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.
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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.
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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.
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I had a plan, but then I work with an army of great artists and I want all of them to create inside that creation.”
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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.
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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.
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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.
BRIAN HENSON