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.
BRIAN HENSONIt’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.
More Brian Henson Quotes
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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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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?”
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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.
BRIAN HENSON -
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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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.
BRIAN HENSON -
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.”
BRIAN HENSON -
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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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 -
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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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 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.
BRIAN HENSON -
So it’s Rosemary Clooney – Rosemary? Rosemary Clooney, right? The singer? Yes. Clooney, doing, singing. “
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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.
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