Beauty is in the eye of the beholder and it may be necessary from time to time to give a stupid or misinformed beholder a black eye.
My hope still is to leave the world a bit better than when I got here.
Life's like a movie, write your own ending. Keep believing, keep pretending.
If you care about what you do and work hard at it, there isn't anything you can't do if you want to.
Watch out for each other. Love everyone and forgive everyone, including yourself. Forgive your anger. Forgive your guilt. Your shame. Your sadness. Embrace and open up your love, your joy, your truth, and most especially your heart.
I don't know exactly where ideas come from, but when I'm working well ideas just appear. I've heard other people say similar things - so it's one of the ways I know there's help and guidance out there. It's just a matter of our figuring out how to receive the ideas or information that are waiting to be heard.
I try hard not to judge anyone, and I try to bless everyone who is a part of my life, particularly anyone with whom I am having any problems
Life is meant to be fun, and joyous, and fulfilling.
[Kids] don't remember what you try to teach them. They remember what you are.
Yeah, we pretty much had a form and a shape by that time - a style - and I think one of the advantages of not having any relationship to any other puppeteer was that it gave me a reason to put those together myself for the needs of television.
When I was young, my ambition was to be one of the people who made a difference in this world. My hope is to leave the world a little better for having been there.
Actually the copies of characters is something I don't particularly like to talk about in articles but just for your information, most characters there's only one.
You're assisting the audience to understand; you're giving them a bridge or an access. And if you don't give them that, if you keep it more abstract, it's almost more pure. It's a cooler thing.
Yeah, well when I first started working, it was $5 a show; it was probably a little higher by the time I got to my own show, but I remember that they put me under contract at $100 a week, which to me was really an astronomical price.
Yeah, I did some small parts in high school and the first year of college and then fairly soon thereafter I settled into the backstage scenery, and then at the University of Maryland I was doing posters for their productions.
If you're doing a large, complicated character with radio controls, it might take a number of people several months to make it and if you're talking about a quick little hand puppet, it could be made in 2 days, so there's enormous range there, and no real easy generalities.
At the time of Polaroid - and I did a couple of other commercials just before I stopped doing that stuff - at that point I was at the level where they respect you and your opinion and all that sort of thing.
But with The Dark Crystal, instead of puppetry we're trying to go toward a sense of realism - toward a reality of creatures that are actually alive and we're mixing up puppetry and all kinds of other techniques.
When The Muppet Show ended, we all sat around and said, what kind of television show would we like to do. We felt the need these days are for some quality children's programming.
Well, Detroit Institute is kind of a key - probably the largest permanent collection of puppets in the US.
