Brian Henson Quotes

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.

And so as a director, as a leader, and myself as a director and a leader, I kind of try to make sure that we hold onto the vision and kind of corral it, but by the time you finish whatever the project is, a TV show, a series, a movie, a stage show, it should be a product of what all those people can do, and therefore, it can never be what you imagined it would be in the beginning.

he puppeteers really responded to it. Patrick Bistrow really responded to it, it's great fun to do improve comedy with puppets.

You get used to it, you look forward to the adrenaline of the stage fright before you go out.

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. You have to learn to listen to your instincts. Absorb other people's advice, opinions, or whatever it may be from the outside world, but at the end of the day, you have to be true to whatever it is that you're trying to say in that work.

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.

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.

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.

We are deeply saddened to hear about the passing of Jonathan Hardy. The clever wit and joy he brought to his performance of Rygel was a true gift to the world of Farscape. My sincerest condolences go out to Jonathan's family and to his many fans around the world.

First of all, you're improvising through a puppet, so you're not always yourself: you're a cow or you're a pig or you're an old woman, you know, whatever puppet you pick, or you're a demon, you know, whatever you pick up, that's what you get to be in the scene.

In many ways, I think it's easier in some ways, or it's more entertaining or more guaranteed to be entertaining than traditional improvising. Again, because you're not just you in your body.

So it's Rosemary Clooney - Rosemary? Rosemary Clooney, right? The singer? Yes. Clooney, doing, singing, "I've Grown Accustomed To Your Face," which is, you know, really a love song, but what we see on stage is we see one puppet that's got a ridiculous blonde wig on and she looks ridiculous, and next to her is a head that's just a piece of fabric with a pretty face on it.

And again, we're kind of trying to be in that place, that's just so absurd and irreverent and hysterical and it's something that at our company we're kind of, we're so irreverent about everything, we're sort of irreverent about the establishment, we're irreverent about civilization, we're irreverent about philosophy, we're irreverent about religion.

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.

And it was a whole lot of fun, and in many ways, what we've done with the show is just taken that part of my early memories of visiting my dad, shooting with the Muppets, and taking that and making a show that's really an expansion of that and presenting a show that's all that.

And one of the funnest things was watching what they did before the director called action and after the director called cut. And they'd keep their hands in the puppets, they'd stay in character, and then they'd start goofing around with each other and be off of script, and it would get quite blue.

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.

Really, initially what I very quickly realized that I was loving about the show was, because it reminded me of when I was a kid and I would visit the sets where my dad was shooting with the other puppeteers.

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.

We're also irreverent, we have an irreverent attitude towards puppets, as well. So a lot of what we do is we're kind of making fun of the puppets for being puppets, even while we're doing it. And again, that all feeds into the absurdity of this show.

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.

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.

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.

But if everybody's trying to stay safe, then you never really create something new and different and surprising.

And then while she's lip-syncing, "I've Grown Accustomed To Your Face," to this little head next to her, the head eats the cloth fabric and swallows it and it's sort of this weird, demonic character there, who then tries to eat the singer. But it's a lot of fun. So there's a couple of pieces like that.

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.

My dad and mom were, they would take what were popular hits, and lip-sync to them with puppets and do a ridiculous story.

It's really great to do one piece, "I've Grown Accustomed To Your Face," my dad developed in 1956, when he was 20 years old, and it's great to do that piece again now and see that it still really works as well as it ever did.

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.

But initially when I was working with my dad, it was in special effects puppets with radio control and motors and puppet effects.

At that point, I thought probably special effects, something like that, and indeed, the early days when I was working with my dad, after I left school, I only went to less than one year of college, and then I was transferring, and then I delayed my transfer, and I did a movie, and then another movie, and then I never finished college.

Patrick thought we should try to put an audience in front of one of the workshops, basically in front of the class and see how the performers rose to having an audience there, because he said, "You know, it's a really interesting test, because sometimes it gets even funnier."

I thought, well, if we're inviting an audience, let's do it right. So I put in a proper studio audience at our studios in Los Angeles and it was just a little showcase and it was just for fun.

There was a producer from the Aspen Comedy Festival who happened to be there, as a friend of a friend, and she said, "I'd like to book you into the Aspen Comedy Festival," and we said, "Well, there isn't really a show to book in, this is just a little showcase and it's really our workshop." And she said, "No, it's great, I love it, just do exactly what you did."

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."

I think it's a lot richer than what we call fleshy improv, I think it's very funny, puppet improv and fleshy improv.

we sent a troupe to Edinborough, and then in Edinborough, there was a producer from the Melbourne Comedy Festival, so we went to Melbourne. So it's one of these shows that kind of organically developed and it started developing momentum way before I even thought there was a show here.

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.

Probably though, by the time I was 17, I already knew that I was probably going to go into film

I'd say that that is a challenge, but it also is, again, it's helpful. It's helpful to have the discipline of, okay, I'm doing, 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.

"Sesame Street" was really the first kid's show that my dad did. He did a couple of TV specials that were targeted for kids before "Sesame Street," but really, it was, it's kind of going back to our roots, when we start to get adult. This show gets very adult sometimes, and that's because of the audience.

It was actually what my dad did and with the Muppets, the years with the Muppets, it was really all targeted to adults. It was in a time when everything had to be safe for the whole family. But he was targeting adults.

The first show that my dad and my mom did together was for, was a comedy series, a short form that went in the middle of late-night news, and then through all of their career, it was always the "Ed Sullivan Show," it was a variety act, my dad was on the "Jimmy Dean Show" for a few years.

This is certainly the raunchiest, if you use that word, raunchy. The roots of Jim Henson, though, was adult comedy.

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.

"Stuffed and Unstrung" started as a workshop, actually, classes within our company. We found that our puppeteers were not ad libbing as well as traditionally, Jim Henson Company puppeteers have. We're sort of famous for going off script a little bit and ad libbing.

And then after the success at Melbourne Comedy Festival, then we regrouped back in LA and we went back into workshopping and decided to develop a proper show and that's when we started working on "Stuffed and Unstrung," which is a much bigger and sharper version of "Puppet Up."

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.

A puppet that starts to improvise badly is almost funnier than the puppet that's improvising well. So the show gets better when the improvising is really good, but also the show can also sometimes get better when the improvising sort of goes a little wrong and that's sort of a blessing to improvising with puppets.

And with puppets, especially in our company, we sort of demand a very high standard of puppetry, so it's a real technical skill.