But initially when I was working with my dad, it was in special effects puppets with radio control and motors and puppet effects.
Brian HensonThere'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.
Brian HensonIt'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.
Brian HensonAnd 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.
Brian HensonI'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.
Brian Henson