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 HENSONOh, 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.
More Brian Henson Quotes
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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.
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You get used to it, you look forward to the adrenaline of the stage fright before you go out.
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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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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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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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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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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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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.”
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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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This is certainly the raunchiest, if you use that word, raunchy. The roots of Jim Henson, though, was adult comedy.
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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 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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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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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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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.
BRIAN HENSON