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 HENSONWe 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.
More Brian Henson Quotes
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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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So it’s Rosemary Clooney – Rosemary? Rosemary Clooney, right? The singer? Yes. Clooney, doing, singing. “
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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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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 -
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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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 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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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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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 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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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’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 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 -
You get used to it, you look forward to the adrenaline of the stage fright before you go out.
BRIAN HENSON