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.
BRIAN HENSONSo 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.
More Brian Henson Quotes
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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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And with puppets, especially in our company, we sort of demand a very high standard of puppetry, so it’s a real technical skill.
BRIAN HENSON -
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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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.
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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.
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You get used to it, you look forward to the adrenaline of the stage fright before you go out.
BRIAN HENSON -
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.
BRIAN HENSON -
So it’s Rosemary Clooney – Rosemary? Rosemary Clooney, right? The singer? Yes. Clooney, doing, singing. “
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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.
BRIAN HENSON -
he puppeteers really responded to it. Patrick Bistrow really responded to it, it’s great fun to do improve comedy with puppets.
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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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My dad and mom were, they would take what were popular hits, and lip-sync to them with puppets and do a ridiculous story.
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I’m doing something that’s quite precise over here, working the puppet, and I’m doing something that’s very imprecise and creative and unleashed over here, which is the comedy side. And it’s kind of nice to allow your brain to be doing those two things at once.
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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 HENSON