Puppet Design Quotes

Every character I've had in my act - none of them have a similar creation story. I actually thought up Peanut and designed him in my head. I described him to a woman that was making soft puppets and she drew up some sketches. And the character came to be just because he popped into my head.

Well, Detroit Institute is kind of a key - probably the largest permanent collection of puppets in the US.

'Muppets' was very much an exercise in anti-CG and the anti-effects world. It was very much in camera. We wanted to create a world where tangible puppets walked around and talked to each other. You could touch them. You could meet them.

Funny enough, there have been puppets in everything I've written because I have a huge love of puppets. There's a big puppet musical at the end of 'Sarah Marshall.' I wrote 'The Muppets.'

I directed the play 'Amadeus' with puppets way back in the day for theater. I also studied puppetry at the Eugene and Neil Center with a lot of the 'Sesame Street' people, so I do have a little bit of a history with puppetry.

I always wanted to be a Muppet.

Stop-motion has limitations, any form of filmmaking does, but stop-motion has a lot of limitations.

You can exaggerate with puppets. You're not trying to look like real people. The way the Muppets are designed is really appealing. Puppets are best if they're exaggerated creatures.

I collect puppet stuff. I have a puppet workshop in my garage. I was looking for any opportunity to be able to get very creatively involved in that world.

Static puppets, I wanted them to move, they're looking out the windows, but we didn't have time to rig those. I have more ideas than I can execute also every time that I do anything. I put the puppets in because people love 'em. I'm a populist in that sense.

When I was thinking about what we could do in terms of what production values of Broadway might be able to add to the show, I had this thought that it would be really cool if we had a coup de théâtre. What would they want? And then I was like, an amazing, enormous tuna puppet that was like 30 by 40 feet would be pretty incredible. So I called up Basil Twist, and he got really excited immediately and started sketching out his idea, and I think it's a real highlight of the show.

Sometimes we think of a creature like a person in a suit, but then you have limitations of two eyes and two legs - they have to see and breathe. I got more into puppetry because it offered more possibilities.

I secretly wanted to act. I also wanted be a toy designer and make puppets.

While you're testing out armatures of puppets, you're also trying to find the proper visual vocabulary for the character and to come up with a guidebook of sorts for how a character will move and act.

I mean, we make a 15-minute show that's incredibly silly, even though all of our scenic designers, puppet builders. animators, everybody that works on the show take their work very seriously. So somebody saying that we'd even be in contention for a very respectable award is really nice.

A glove is a very literal looking hand puppet.