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 HENSONI 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.
More Brian Henson Quotes
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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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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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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.
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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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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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So it’s Rosemary Clooney – Rosemary? Rosemary Clooney, right? The singer? Yes. Clooney, doing, singing. “
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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.
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I have nothing really prepared,” and actually I say that, the show is not all improvising.
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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.
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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.
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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.
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And it should be something that only that group of people could’ve made with everybody invested.
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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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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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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.”
BRIAN HENSON