1 00:00:00,760 --> 00:00:05,400 Kermit? Kermit, you're late. It's time to start the... Kermit? 2 00:00:06,500 --> 00:00:07,500 Oh, dear. 3 00:00:09,360 --> 00:00:10,299 It's okay. 4 00:00:10,300 --> 00:00:14,920 I'll just do whatever Kermit would do if he were here. Now, if he were here, he 5 00:00:14,920 --> 00:00:18,680 would have me hit the remote button, and then up would come a great opening. 6 00:00:19,000 --> 00:00:23,500 So I can do that without Kermit. 7 00:00:23,940 --> 00:00:27,540 So here comes a classic, meaningful piece of entertainment. 8 00:00:49,680 --> 00:00:52,960 It's time to put on makeup. It's time to dress up right. 9 00:00:53,340 --> 00:00:56,380 It's time to raise the curtain of the show tonight. 10 00:00:57,000 --> 00:00:58,320 Kermit! Oh, dear. 11 00:00:58,540 --> 00:00:59,540 Oh! 12 00:01:00,660 --> 00:01:02,900 Gee, I was kind of enjoying that. 13 00:01:45,710 --> 00:01:47,190 Good evening and welcome to the show. 14 00:01:47,610 --> 00:01:49,310 Was that you? 15 00:01:52,050 --> 00:01:54,470 Oh, it must be Jojo. Hey, come on. 16 00:01:55,690 --> 00:01:57,110 Here's evening paper, sir. 17 00:01:58,310 --> 00:02:01,090 Thanks, Jojo. But aren't you supposed to quit work at five? 18 00:02:01,350 --> 00:02:02,128 Yes, sir. 19 00:02:02,130 --> 00:02:04,070 But you hired me as a handyman. 20 00:02:04,310 --> 00:02:05,310 A handy dog. 21 00:02:05,390 --> 00:02:06,329 Oh, right. 22 00:02:06,330 --> 00:02:10,750 So I try to be handy, sir. On show days, I stay late. 23 00:02:11,170 --> 00:02:13,190 What if something went wrong with the show? 24 00:02:13,720 --> 00:02:16,880 Like, for instance, a dog comes running onto the set just as we're beginning? 25 00:02:17,760 --> 00:02:19,480 Did I miss something there, sir? 26 00:02:19,720 --> 00:02:22,180 Was there a tone of wit or irony? 27 00:02:22,560 --> 00:02:23,820 JoJo, what is it you want? 28 00:02:24,160 --> 00:02:28,560 Oh, you outguessed me again, sir. I do have a question. 29 00:02:29,340 --> 00:02:30,960 How do the Muppets work? 30 00:02:31,460 --> 00:02:35,000 Well, by an astounding coincidence, you've asked exactly the right question. 31 00:02:35,320 --> 00:02:37,860 Because tonight we're going to go behind the scenes. 32 00:02:59,630 --> 00:03:03,510 Tonight we'll reveal it all. The secrets of the Muppets. Is that okay with you, 33 00:03:03,550 --> 00:03:07,550 Kermit? It's fine with me, Chief. In fact, it could be fun. Oh, good. Well, 34 00:03:07,550 --> 00:03:08,550 and I will get ready. 35 00:03:09,730 --> 00:03:12,960 Kermit, did I... Did you hear Jim say that he wants us to reveal some of our 36 00:03:12,960 --> 00:03:15,420 secrets? No, I think he said all of our secrets. 37 00:03:15,640 --> 00:03:16,638 Oh. 38 00:03:16,640 --> 00:03:18,780 All right. 39 00:03:19,680 --> 00:03:21,560 Okay, all right. Okay, I admit it. 40 00:03:21,780 --> 00:03:28,500 Sometimes, late at night, when I'm all alone, I wash my socks in club soda to 41 00:03:28,500 --> 00:03:31,360 make my feet fizz. Oh, I'm so embarrassed. 42 00:03:37,300 --> 00:03:40,500 And so, tonight we're revealing the secrets of the Muppets. 43 00:03:40,810 --> 00:03:41,930 Jojo, where should we begin? 44 00:03:42,370 --> 00:03:44,430 Gosh, Mr. H, I hardly know. 45 00:03:44,670 --> 00:03:47,630 I mean, the Muppets do so many different things. 46 00:05:42,190 --> 00:05:43,350 Well, we have to start somewhere. 47 00:05:43,790 --> 00:05:46,150 Okay. How about this room? 48 00:05:46,730 --> 00:05:50,030 Okay. What would you like to know about it? Just about everything, sir. 49 00:05:50,270 --> 00:05:53,890 I mean, frankly, Mr. H., it's sort of indescribable. 50 00:05:54,150 --> 00:05:56,250 Well, that's because it doesn't actually exist. 51 00:05:56,910 --> 00:05:58,410 Because it doesn't actually exist. 52 00:05:59,670 --> 00:06:00,710 Beg pardon, sir? 53 00:06:01,010 --> 00:06:04,190 Well, you see, we're not standing in this set. We're standing in this set. 54 00:06:06,650 --> 00:06:07,690 Hey, take it easy. 55 00:06:08,030 --> 00:06:09,570 The lion hates it when I do that. 56 00:06:09,790 --> 00:06:10,950 No wonder, sir. 57 00:06:11,600 --> 00:06:13,200 I can describe this room now. 58 00:06:14,120 --> 00:06:15,440 Dull describes it. 59 00:06:16,420 --> 00:06:18,840 Boring describes it. Not to mention blue. 60 00:06:19,200 --> 00:06:21,560 But let me show you how we go from this to this. 61 00:06:23,480 --> 00:06:25,980 Like any other set, this one began with drawings. 62 00:06:26,500 --> 00:06:29,100 What's kind of fun here is if you have, you know, this is air and this is water, 63 00:06:29,180 --> 00:06:32,840 and you can completely reverse that. You could have birds down here in the 64 00:06:32,840 --> 00:06:35,920 water, you know, swimming along, and you could have fish. 65 00:06:36,700 --> 00:06:38,300 flying through up here in space? 66 00:06:38,660 --> 00:06:41,940 I think the fact is that you can actually do almost anything in a 67 00:06:42,120 --> 00:06:46,860 Right, right. Okay, I think one of the things that we've done is retain this 68 00:06:46,860 --> 00:06:52,440 sense of the classical Roman, almost Colosseum -like archway in the back. 69 00:06:52,560 --> 00:06:56,700 There's this really marvelous, it's become almost more gothic. But instead 70 00:06:56,700 --> 00:07:00,100 handing the drawings to a crew of carpenters, we gave it to a bunch of 71 00:07:00,100 --> 00:07:04,220 animators. They built a three -dimensional version of the room inside 72 00:07:04,220 --> 00:07:05,220 computer. 73 00:07:05,350 --> 00:07:07,090 Here's the room when it was under construction. 74 00:07:08,810 --> 00:07:10,990 So now that room exists in the computer. 75 00:07:11,510 --> 00:07:14,790 And Jojo and the lion and I exist in this blue set. 76 00:07:15,250 --> 00:07:19,210 Now the set is painted blue because we can adjust the cameras so they can't see 77 00:07:19,210 --> 00:07:23,190 blue. Then we can replace the blue with computer animation. 78 00:07:24,030 --> 00:07:27,110 This is called matting, by the way. Now we're all matted into the room. 79 00:07:28,130 --> 00:07:31,030 Hey, wait a second. I have to get down from here. 80 00:07:31,270 --> 00:07:32,270 Come back. 81 00:07:33,570 --> 00:07:36,910 Good. Now I can make my entrance like I do in every show. 82 00:07:37,530 --> 00:07:39,490 So that's matting. 83 00:07:40,190 --> 00:07:42,350 Doesn't that just wag your tail, folks? 84 00:07:42,870 --> 00:07:45,290 The only thing I have to be careful of is my wardrobe. 85 00:07:45,950 --> 00:07:49,010 Now look what happens if I wear a bright blue tie in my room. 86 00:07:49,550 --> 00:07:51,790 I can see right through you, Mr. H. 87 00:07:52,210 --> 00:07:55,850 Exactly. By the way, you know that control room where Kermit the Frog 88 00:07:56,070 --> 00:07:59,770 What about it? Well, we call that Muppet Central, and it's done exactly the same 89 00:07:59,770 --> 00:08:01,750 way. It doesn't really exist either. 90 00:08:02,060 --> 00:08:04,640 What is he talking about? That's complete nonsense. 91 00:08:05,240 --> 00:08:08,460 What did I tell you? The boss is no longer driving with a full tank. 92 00:08:08,720 --> 00:08:10,940 But how can he say that Muppet Central doesn't exist? 93 00:08:12,380 --> 00:08:13,380 See? 94 00:08:14,880 --> 00:08:15,960 Doesn't that sound real? 95 00:08:16,160 --> 00:08:20,780 Sure. Now, the banging on the wall is a sound effect. That's added later. It's 96 00:08:20,780 --> 00:08:21,780 called post -production. 97 00:08:21,800 --> 00:08:24,340 Actually, these pictures on the monitors are added later, too. 98 00:08:24,760 --> 00:08:26,900 I'm starting to understand, Mr. H. 99 00:08:27,180 --> 00:08:29,380 But it's not true. I just hit the wall. 100 00:08:29,620 --> 00:08:30,980 Hi, guys. What's happening? 101 00:08:31,820 --> 00:08:32,820 Good, you were watching TV. 102 00:08:33,380 --> 00:08:34,400 Is this the news? 103 00:08:35,200 --> 00:08:39,659 As interesting as it is, sir, it's not like talking about the Muppets' real 104 00:08:39,659 --> 00:08:42,320 secret, is it? Secret? Do we have secrets? 105 00:08:42,799 --> 00:08:44,140 Yes, we do. 106 00:08:44,360 --> 00:08:47,940 Yes. All right, everyone, we don't have to listen to this anymore. No. 107 00:08:48,540 --> 00:08:52,240 I know what you're asking for, Jojo, and I suppose you'd like me to talk about 108 00:08:52,240 --> 00:08:53,240 puppets. 109 00:09:06,700 --> 00:09:08,540 Okay, Jojo, we'll use you as an example. 110 00:09:08,860 --> 00:09:12,800 I wasn't expecting that, sir. I don't want to see this next part. After all, 111 00:09:12,800 --> 00:09:13,800 are a puppet. 112 00:09:13,860 --> 00:09:17,240 At least sometimes Jojo's a puppet, and sometimes she's a real dog. 113 00:09:17,900 --> 00:09:19,020 Now, this is Bamboo. 114 00:09:19,480 --> 00:09:24,500 Hey, Bamboo, sit up. Come on, sit up. Sit up. Oh, very good. 115 00:09:24,900 --> 00:09:25,900 There you go. 116 00:09:26,900 --> 00:09:31,000 Bamboo is the dog that plays Jojo in wide shots. When we decided to use a dog 117 00:09:31,000 --> 00:09:34,760 puppet in tonight's show, we started with a casting session for a real dog. 118 00:09:36,430 --> 00:09:40,590 Now, we were looking for a cute, intelligent dog, but also one whose 119 00:09:40,590 --> 00:09:41,890 be recreated as a puppet. 120 00:09:42,290 --> 00:09:45,350 Now, lots of really great dogs just didn't quite fit the bill. 121 00:09:45,770 --> 00:09:50,610 Some were too large, some too small, some too fat, some were too trim. 122 00:09:52,610 --> 00:09:57,730 But eventually we found Bamboo, and then began the process of matching fur and 123 00:09:57,730 --> 00:09:59,530 flesh with foam and fabric. 124 00:10:01,900 --> 00:10:06,160 Now working with photographs and videotape, puppet builder Ed Christie 125 00:10:06,160 --> 00:10:07,900 sculpting a foam rubber dog head. 126 00:10:12,660 --> 00:10:17,360 Meanwhile, Raleigh Crewson was in charge of building a dog body that would look 127 00:10:17,360 --> 00:10:19,540 like the real thing, but work like a puppet. 128 00:10:22,340 --> 00:10:24,540 Great care was taken to match the teeth. 129 00:10:26,860 --> 00:10:30,960 As work progressed, mechanical rigs were added to give life and movement to the 130 00:10:30,960 --> 00:10:31,960 face. 131 00:10:32,140 --> 00:10:35,880 Matching the color and texture of the fur turned out to be really tricky. As 132 00:10:35,880 --> 00:10:38,140 can see, Bamboo's fur has many shades of brown. 133 00:10:38,920 --> 00:10:42,880 But at last, everyone was happy, and here you can see Bamboo and Jojo. 134 00:10:45,400 --> 00:10:50,680 Mr. Ensign, sir, it's a humiliating experience to watch documentary footage 135 00:10:50,680 --> 00:10:52,220 the making of yourself. 136 00:10:53,000 --> 00:10:54,420 Let me show you something, Jojo. 137 00:10:55,100 --> 00:10:58,420 Now, over here I've got one of our simple puppets, and I thought I should 138 00:10:58,420 --> 00:11:00,540 demonstrate our usual method of operation. 139 00:11:00,980 --> 00:11:04,960 Now, normally we work standing with the puppet over our head like this. Hello 140 00:11:04,960 --> 00:11:05,960 down there! 141 00:11:06,320 --> 00:11:09,640 And so that he can tell what's happening, a puppeteer always watches 142 00:11:09,640 --> 00:11:11,200 performance in a television monitor. 143 00:11:12,300 --> 00:11:14,580 I can see your monitor! 144 00:11:15,620 --> 00:11:18,760 In a way, the puppeteer becomes an audience to his own performance. 145 00:11:19,080 --> 00:11:23,600 You make it seem so simple! Well, it's not always that simple. Sometimes we can 146 00:11:23,600 --> 00:11:24,600 get pretty complicated. 147 00:11:25,080 --> 00:11:28,440 Here's a look at the making of the Viking production number back on the old 148 00:11:28,440 --> 00:11:29,440 Muppet show. 149 00:11:53,550 --> 00:11:57,190 Where can you find pleasure, search the world for treasure, learn science, 150 00:11:57,330 --> 00:11:58,330 technology? 151 00:11:58,950 --> 00:12:04,950 Where? Where can you begin to make your dreams all come true, on the land or on 152 00:12:04,950 --> 00:12:05,950 the sea? 153 00:12:06,130 --> 00:12:12,230 Where? Where can you learn to fly, play, and torture, and study oceanography? 154 00:12:12,950 --> 00:12:18,630 Where? Sign up for the Big Bend or sit in the grandstand when your team and 155 00:12:18,630 --> 00:12:19,630 others meet. 156 00:12:20,110 --> 00:12:21,750 We're in the Navy. 157 00:12:21,970 --> 00:12:24,090 Yes, you can sail the seven seas. 158 00:12:24,330 --> 00:12:25,330 In the Navy. 159 00:12:25,570 --> 00:12:28,750 Yes, you can put your mind at ease. In the Navy. 160 00:12:29,250 --> 00:12:31,190 Come on now, people, make a stand. 161 00:12:42,600 --> 00:12:45,960 Doing this with one hand, closing on the beat, and opening with the beat on this 162 00:12:45,960 --> 00:12:52,140 hand. So, you're doing... We want you. 163 00:12:52,400 --> 00:12:54,080 We want you. I can't do it. 164 00:12:56,100 --> 00:12:57,380 Nobody can. Don't worry. 165 00:13:30,449 --> 00:13:31,449 Oh my God! 166 00:14:04,650 --> 00:14:06,050 I always liked that number. 167 00:14:06,310 --> 00:14:07,350 Those were the days. 168 00:14:08,810 --> 00:14:10,010 He liked it? 169 00:14:10,230 --> 00:14:11,730 But they showed everything. 170 00:14:12,890 --> 00:14:17,510 I saw puppeteers. I saw puppeteers. I saw puppeteers. 171 00:14:17,730 --> 00:14:20,170 Hey, but I did see puppeteers. I did. 172 00:14:26,150 --> 00:14:28,430 Now, our puppet shop is right down over here. 173 00:14:28,690 --> 00:14:31,930 How did we get to New York so fast, sir? Well, I thought it would be quicker if 174 00:14:31,930 --> 00:14:33,150 we traveled by tape, Bennett. 175 00:14:36,140 --> 00:14:37,140 For sure. 176 00:14:40,740 --> 00:14:42,680 So this is our New York shop. 177 00:14:42,900 --> 00:14:47,500 Wow! And this is where an awful lot of our stuff is built. 178 00:14:47,860 --> 00:14:49,280 This is neat, sir! 179 00:14:49,600 --> 00:14:52,260 Here's Tom Newby working on one of our high -tech projects. 180 00:14:52,580 --> 00:14:53,580 Hi, JoJo. Hi! 181 00:14:53,820 --> 00:14:54,699 What's that? 182 00:14:54,700 --> 00:14:56,480 Oh, this is one of our radio -controlled puppets. 183 00:14:56,780 --> 00:14:59,360 Wow! A bionic puppet! 184 00:14:59,640 --> 00:15:00,640 Wow! 185 00:15:02,960 --> 00:15:04,800 Come on now, let's see what else is here. 186 00:15:07,280 --> 00:15:10,080 Now, you see, Jojo, there's a bunch of other things around here you might 187 00:15:10,080 --> 00:15:12,280 recognize. This is great, sir. 188 00:15:12,640 --> 00:15:13,640 Mm -hmm. 189 00:15:13,840 --> 00:15:14,840 Yeah. 190 00:15:16,960 --> 00:15:19,460 Take it easy, Jojo. These are just puppet cats. 191 00:15:19,840 --> 00:15:20,840 I'm sorry, sir. 192 00:15:21,040 --> 00:15:22,040 Right. 193 00:15:22,380 --> 00:15:24,340 Oh, this looks good, Mr. H. 194 00:15:24,660 --> 00:15:25,680 Now, hold on there. 195 00:15:25,880 --> 00:15:28,160 You see, this is just a puppet sandwich here. 196 00:15:28,620 --> 00:15:31,360 Oh, that's a delicious -looking character, sir. 197 00:15:31,620 --> 00:15:34,220 Well, thank you very much, Jojo. You're welcome. 198 00:15:35,550 --> 00:15:39,330 Now here's Joanne Green with a monster puppet. Wow, that's scary. 199 00:15:39,890 --> 00:15:42,710 And over here is puppet builder Jane Gutnik. 200 00:15:43,090 --> 00:15:44,090 Wait a minute. 201 00:15:44,350 --> 00:15:46,330 Isn't that Gonzo that you're making? 202 00:15:46,690 --> 00:15:47,589 Certainly is. 203 00:15:47,590 --> 00:15:49,330 But he's an old character. 204 00:15:49,670 --> 00:15:51,170 I mean, he's already built. 205 00:15:51,430 --> 00:15:55,390 Well, our central family of characters get a lot of hard use, and we have to 206 00:15:55,390 --> 00:15:57,570 rebuild them. They just simply wear out. 207 00:15:58,310 --> 00:16:02,010 Wear out? I do not wear out. This is an outrage. 208 00:16:02,550 --> 00:16:05,550 Actually, Gonzo, This is starting to be fascinating. 209 00:16:05,950 --> 00:16:11,410 How can you say that? Like everyone else, I mature, quite gracefully in my 210 00:16:11,570 --> 00:16:14,010 But to say that I wear out is grotesque. 211 00:16:14,230 --> 00:16:18,750 Oh, there are little cracks starting at the corners of your mouth. 212 00:16:20,430 --> 00:16:21,890 Will you get away from me? 213 00:16:22,410 --> 00:16:25,950 So here we are in London to see the Creature Shop, our other workshop. 214 00:16:26,330 --> 00:16:30,170 Traveling is exhausting, Mr. H. I don't feel like myself at all. 215 00:16:30,430 --> 00:16:31,430 Actually, you're not. 216 00:16:31,480 --> 00:16:34,420 The British government has very strict regulations about the importation of 217 00:16:34,420 --> 00:16:37,620 animals. So we just brought the hand puppet and hired a different dog. You'll 218 00:16:37,620 --> 00:16:38,620 feel better in close -up. 219 00:16:39,140 --> 00:16:40,820 You're right, I do, sir. 220 00:16:41,760 --> 00:16:43,380 Come on inside and meet the gang. 221 00:16:48,460 --> 00:16:49,419 Hello, John. 222 00:16:49,420 --> 00:16:52,980 Hello, Jim. How are you? I'm very well, how are you? You know Jojo? Hi, Jojo. 223 00:16:53,280 --> 00:16:54,460 Pleased to meet you, John. 224 00:16:54,820 --> 00:16:58,720 So listen, what's new, John? This is the Minotaur that we're working on for our 225 00:16:58,720 --> 00:16:59,720 Greek myth series. 226 00:17:00,350 --> 00:17:03,090 This is how he started, as a small maquette. 227 00:17:03,610 --> 00:17:05,490 Hopefully it'll look like that when we finish. 228 00:17:06,790 --> 00:17:11,109 And Jojo, I'm sure you remember the devil from one of our storytellers. 229 00:17:11,950 --> 00:17:13,349 Is he cheating? 230 00:17:13,770 --> 00:17:16,329 Well, I am, and I'm still losing. 231 00:17:16,550 --> 00:17:17,550 Me too. 232 00:17:18,030 --> 00:17:19,030 Deal again. 233 00:17:19,710 --> 00:17:20,710 Certainly. 234 00:17:22,010 --> 00:17:24,750 This is Didymus from Labyrinth. 235 00:17:25,050 --> 00:17:29,110 And then finally, a 120 -foot -high monster from... 236 00:17:29,440 --> 00:17:30,440 The Monster Maker. 237 00:17:44,220 --> 00:17:49,820 Oh, Jojo, you should know enough not to be frightened by big puppets. 238 00:17:50,320 --> 00:17:51,660 That wasn't me, sir. 239 00:17:51,980 --> 00:17:53,540 That was the English me. 240 00:17:53,800 --> 00:17:54,800 Okay. 241 00:17:55,760 --> 00:17:58,960 Well, this is the Heartless Giant from the Storyteller series, Jojo. 242 00:17:59,280 --> 00:18:03,280 Now, it's what we call a full -figure puppet. Now, there's an actor inside 243 00:18:03,280 --> 00:18:04,860 animating the suit, you see. 244 00:18:05,080 --> 00:18:09,340 But before he can do that, he has to be padded out and then dressed in very 245 00:18:09,340 --> 00:18:12,940 loose -fitting clothes, extra large shoes and jacket. 246 00:18:16,860 --> 00:18:20,360 Then a special head mask, which fits over his own head, is worn. 247 00:18:20,940 --> 00:18:24,100 It's made so that his own eyes fit in the openings of the mask. 248 00:18:24,570 --> 00:18:26,290 So his eyes become the giant's eyes. 249 00:18:28,590 --> 00:18:32,170 Also, by moving his mouth, it operates the mouth of the mask. 250 00:18:35,250 --> 00:18:37,450 Now, here he is fully dressed in the studio. 251 00:18:38,210 --> 00:18:42,290 Now, all those cables you see are operating the expressions of his face. 252 00:18:42,950 --> 00:18:44,590 But he still looks normal size. 253 00:18:45,210 --> 00:18:47,450 But on the screen, he looks like this. 254 00:18:56,560 --> 00:19:00,520 Now, a large foot and hand had to be made for certain scenes. 255 00:19:00,900 --> 00:19:03,680 In fact, the hand had to be big enough to pick up a person. 256 00:19:04,600 --> 00:19:05,600 Prince Leo. 257 00:19:08,000 --> 00:19:10,200 Yes, it is you. 258 00:19:10,520 --> 00:19:11,920 I can see now. 259 00:19:14,660 --> 00:19:17,060 Oh, what in the world is that? 260 00:19:18,620 --> 00:19:22,760 I am the Ultra Gorgon. 261 00:19:24,000 --> 00:19:25,100 Dog, cut that out. 262 00:19:25,740 --> 00:19:26,740 Sorry. 263 00:19:27,400 --> 00:19:30,420 Actually, JJ, this is the altar gorgon from Monster Maker. 264 00:19:32,420 --> 00:19:33,840 Come closer. 265 00:19:43,820 --> 00:19:47,220 Why don't you believe in me? 266 00:19:47,760 --> 00:19:48,760 I do. I do. 267 00:19:49,340 --> 00:19:51,260 Look as close as you like. 268 00:19:51,560 --> 00:19:53,200 You're not dreaming now. 269 00:19:53,680 --> 00:19:54,680 Look! 270 00:19:58,000 --> 00:20:01,080 Chanty didn't create me. You did. 271 00:20:01,960 --> 00:20:06,100 No. In your dreams, you've got the talent. 272 00:20:06,460 --> 00:20:07,540 It's a gift. 273 00:20:08,000 --> 00:20:09,000 No! 274 00:20:10,320 --> 00:20:11,320 Oops. 275 00:20:13,360 --> 00:20:14,360 Sorry. 276 00:20:15,080 --> 00:20:16,340 What do you say? 277 00:20:17,000 --> 00:20:18,580 Don't you want to be rich? 278 00:20:19,420 --> 00:20:20,560 Famous? No! 279 00:20:21,460 --> 00:20:22,460 Coward! 280 00:20:31,460 --> 00:20:34,120 Okay. Well, hey, listen, John, thank you very much. It's been really a pleasure. 281 00:20:34,120 --> 00:20:35,120 Pleasure. Okay. 282 00:20:35,360 --> 00:20:36,520 Come on, JoJo. Let's go. 283 00:20:46,700 --> 00:20:48,240 Hey, JoJo. Huh? 284 00:20:48,580 --> 00:20:49,580 Oh! 285 00:20:50,220 --> 00:20:52,100 You're the dog from the storyteller! 286 00:20:52,480 --> 00:20:53,480 Of course. 287 00:20:54,700 --> 00:20:57,980 Come on, JoJo. You're late for this week's meeting of the OMD. 288 00:21:03,470 --> 00:21:06,210 The OMD, the organization of Muppet Dogs. 289 00:21:06,570 --> 00:21:09,130 I don't believe it! Hi, guys! 290 00:21:12,370 --> 00:21:17,530 And as president of the OMD, I'd like you all to welcome our newest member, 291 00:21:17,750 --> 00:21:18,750 JoJo. 292 00:21:20,990 --> 00:21:25,070 Now let's hear it for Muppet Dogs. Do Muppet Dogs need puppy shots? 293 00:21:25,550 --> 00:21:27,870 No. Do Muppet Dogs need walks? 294 00:21:28,310 --> 00:21:31,030 No. Do Muppet Dogs need peep? 295 00:21:31,260 --> 00:21:32,219 For training. 296 00:21:32,220 --> 00:21:36,060 No, certainly not. We just need occasional dry cleaning. 297 00:21:38,300 --> 00:21:39,420 Come on, Jojo. 298 00:21:40,080 --> 00:21:43,040 Oh, I'm sorry, guys. I gotta be going. 299 00:21:44,040 --> 00:21:45,040 Gone, 300 00:21:45,660 --> 00:21:46,660 gone. 301 00:21:49,720 --> 00:21:50,920 So, here we are. 302 00:21:51,420 --> 00:21:53,440 Did you miss us, Lion? Any phone calls? 303 00:21:54,380 --> 00:21:55,540 See, wasn't that easy? 304 00:21:55,800 --> 00:21:59,060 And we didn't even have to stand in line to show our passports. 305 00:21:59,420 --> 00:22:01,640 Okay. So now you've seen the Muppet workshops. 306 00:22:02,100 --> 00:22:06,600 You know, Mr. H, with all those brilliant puppet builders, it's no 307 00:22:06,600 --> 00:22:07,640 Muppets can do anything. 308 00:22:08,120 --> 00:22:09,760 Uh, actually, no, we can't. 309 00:22:09,960 --> 00:22:15,440 Oh, save the false modesty, sir. I watch you on television all the time, and I 310 00:22:15,440 --> 00:22:18,960 know. Well, you see, you just said it yourself. You watch them on television. 311 00:22:19,800 --> 00:22:23,820 This may be one of the major secrets of the Muppets. See, we combine all the 312 00:22:23,820 --> 00:22:26,500 tricks of puppetry with all the tricks of film and television. 313 00:22:26,900 --> 00:22:29,340 I think we'll need a demonstration of that one. 314 00:22:30,350 --> 00:22:33,990 Okay. Let's take one of our regular characters. Say, for example, Gonzo. 315 00:22:34,550 --> 00:22:36,490 Gonzo? What about Gonzo? 316 00:22:36,690 --> 00:22:39,130 Well, Gonzo doesn't have real hands. 317 00:22:39,410 --> 00:22:43,310 Does not have real hands? Wait a minute. That's a ludicrous thing to say. 318 00:22:43,510 --> 00:22:47,890 This man is deranged. Of course I have real hands. Look, see? They're just 319 00:22:47,890 --> 00:22:50,190 little bits of fur fabric that are controlled by arm wires. 320 00:22:50,490 --> 00:22:51,490 Arm wires? 321 00:22:51,750 --> 00:22:54,630 Arm wires? That's ridiculous. Do you see any arm wires? 322 00:22:59,050 --> 00:23:00,050 Never mind. 323 00:23:01,650 --> 00:23:05,530 So, if we want to have Gonzo do something really simple, say, for 324 00:23:05,630 --> 00:23:06,630 answer the telephone. 325 00:23:06,810 --> 00:23:10,070 Well, this is what we have to do. We have to have him reach over and place 326 00:23:10,070 --> 00:23:11,070 hand on the receiver. 327 00:23:11,330 --> 00:23:15,410 Then we stop tape, attach the hand to the phone, move the camera to another 328 00:23:15,410 --> 00:23:17,730 angle, and tape Gonzo picking up the phone. 329 00:23:17,990 --> 00:23:19,230 It looks something like this. 330 00:23:31,260 --> 00:23:32,260 Hello? 331 00:23:34,680 --> 00:23:39,120 And there was the tape edit. Did you notice it? No, I did not. There is no 332 00:23:39,120 --> 00:23:41,400 edit. I can pick up the phone any time I want. 333 00:23:45,520 --> 00:23:46,520 Ah! 334 00:23:48,020 --> 00:23:50,260 Hello? You don't say. 335 00:23:54,940 --> 00:23:55,940 Hello? 336 00:23:56,280 --> 00:23:57,280 You don't say. 337 00:24:02,500 --> 00:24:04,180 Hello? You don't say. 338 00:24:05,960 --> 00:24:08,000 Who was it? He didn't say. 339 00:24:09,760 --> 00:24:12,460 You really notice the tape edits when you do several in a row. 340 00:24:16,720 --> 00:24:18,560 Cuzzle, you know better than that. 341 00:24:18,820 --> 00:24:22,040 Never leave the room while your hand is still glued to the telephone. 342 00:24:31,920 --> 00:24:35,200 We recently did a story called The Song of the Cloud Forest. 343 00:24:35,420 --> 00:24:38,200 Tell you what, Jojo, let me take you onto the set and show you some things. 344 00:24:38,480 --> 00:24:43,700 Okay. Watch this, folks. These tape edits can let you travel back in time, 345 00:24:46,360 --> 00:24:48,920 So this is where we shot The Song of the Cloud Forest. 346 00:24:49,160 --> 00:24:51,420 Doesn't look much like a forest, Mr. H. 347 00:24:51,800 --> 00:24:53,800 This may not, but how about this? 348 00:25:09,550 --> 00:25:11,790 In this show, there were no actual sets at all. 349 00:25:12,050 --> 00:25:14,730 We shot all of the puppets against black or blue. 350 00:25:15,250 --> 00:25:19,710 And then the jungle sets were added later by one of our new tools, an 351 00:25:19,710 --> 00:25:21,610 graphics system called the Paint Box. 352 00:25:22,550 --> 00:25:26,010 Now, this system is set up especially to create graphics for television. 353 00:25:26,490 --> 00:25:30,310 Using something called a light pen, we could draw the forest right onto the 354 00:25:30,310 --> 00:25:31,310 screen. 355 00:25:32,730 --> 00:25:35,950 Here, my daughter Cheryl, who was one of the art directors on the show, 356 00:25:36,410 --> 00:25:39,190 discusses a shot with computer artist John Simmerod. 357 00:25:40,670 --> 00:25:45,130 And here, the computer is showing us its library of images that we will combine 358 00:25:45,130 --> 00:25:47,710 with puppetry to create the final shots. 359 00:25:49,990 --> 00:25:55,650 One of my favorite sequences in the story occurs when Wolf and Milton jump 360 00:25:55,650 --> 00:25:59,730 of a tree. In the studio, the puppeteers watch the monitor to see a rough 361 00:25:59,730 --> 00:26:01,190 approximation of the shot. 362 00:26:02,890 --> 00:26:07,740 In the editing room, All of these elements were manipulated and combined 363 00:26:07,740 --> 00:26:08,740 the final program. 364 00:26:09,400 --> 00:26:11,480 The finished scene looked like this. 365 00:26:11,680 --> 00:26:12,860 Come on, let's go. 366 00:26:13,840 --> 00:26:14,840 Go where? 367 00:26:15,020 --> 00:26:16,020 Well, concentrate. 368 00:26:16,560 --> 00:26:20,380 To the forest floor. I've got to get down there and get my act together. 369 00:26:20,700 --> 00:26:23,360 I think you need to talk to your friends, Milton. 370 00:26:23,680 --> 00:26:25,340 Good idea. Hang on. 371 00:26:36,720 --> 00:26:39,900 see it coming. Here I am five years without a date, and I'm acting like 372 00:26:39,900 --> 00:26:41,120 everything's hunky -dory. 373 00:26:41,340 --> 00:26:42,600 Oh, don't blame yourself, Milton. 374 00:26:44,220 --> 00:26:47,700 It's not a question of blame. I'm just not mentally prepared for extinction. 375 00:26:49,980 --> 00:26:51,620 Hey, this is great. 376 00:26:52,060 --> 00:26:54,220 It's all done with video effects, right? 377 00:26:54,560 --> 00:26:55,560 You think so, huh? 378 00:26:55,680 --> 00:26:57,320 No question about it, sir. 379 00:26:57,880 --> 00:27:02,460 Oh, you take a character like that from Fraggle Rock, right? 380 00:27:02,800 --> 00:27:06,930 You got it, pooch. I'm a doozer. In fact, I'm one of the really... important 381 00:27:06,930 --> 00:27:08,910 doozers. I'm a bulldozer. 382 00:27:10,090 --> 00:27:13,890 Ignoring that joke, I shall now explain how that character works. 383 00:27:14,350 --> 00:27:19,510 See, he's really not here at all. He's really probably about three feet tall, 384 00:27:19,690 --> 00:27:23,530 and he's being photographed in front of a blue wall. And then with that... Whoa! 385 00:27:25,770 --> 00:27:28,450 Doesn't that make you so mad you could chase cars? 386 00:27:28,950 --> 00:27:31,590 Put me down, you big bearded bully. I'm spinning my wheels. 387 00:27:31,890 --> 00:27:33,390 Sorry, I was just trying to make a point here. 388 00:27:35,020 --> 00:27:37,320 Sometimes the tricks we use aren't film tricks at all. 389 00:27:37,520 --> 00:27:41,440 On Fraggle Rock, we had these little tiny guys named Doozers. We also had 390 00:27:41,440 --> 00:27:44,860 great big characters named Gorgs. And this is how we did them. 391 00:28:15,820 --> 00:28:20,280 The Gorgs of Fraggle Rock are a remarkable combination of puppetry, 392 00:28:20,280 --> 00:28:24,180 technological wizardry, and they're among the most sophisticated puppets 393 00:28:24,180 --> 00:28:25,039 ever created. 394 00:28:25,040 --> 00:28:29,380 We needed giant characters who had complete freedom of movement and at the 395 00:28:29,380 --> 00:28:33,740 time expressive faces, and we needed to find a way to allow two performers to 396 00:28:33,740 --> 00:28:34,800 control the same puppet. 397 00:28:35,400 --> 00:28:39,660 The three giant costumes are worn by performers who are skilled in dance and 398 00:28:39,660 --> 00:28:40,660 body movement. 399 00:28:41,200 --> 00:28:45,000 The costume will permit them to make the oversized, almost slapstick movements 400 00:28:45,000 --> 00:28:46,140 required of the characters. 401 00:28:49,280 --> 00:28:52,840 Now, when you're wearing one of these gorg heads, it's very difficult for the 402 00:28:52,840 --> 00:28:57,260 performer inside to see out, so we devised something we call gorg vision. 403 00:28:57,800 --> 00:29:01,740 We have a little tiny television camera that's located here looking out of the 404 00:29:01,740 --> 00:29:06,100 gorg's eye, and that transmits a picture that goes down to a monitor that's 405 00:29:06,100 --> 00:29:08,120 mounted right in front of the performer's eyeball. 406 00:29:08,800 --> 00:29:13,400 Not only does this permit him to see, but it raises his sight line to Gorg's 407 00:29:13,400 --> 00:29:17,780 height. So when he looks at something, the character's eyes also seem to look 408 00:29:17,780 --> 00:29:18,780 it. 409 00:29:19,320 --> 00:29:23,660 Now suited up, the performer inside will create half of the Gorg's performance, 410 00:29:23,900 --> 00:29:26,360 the movements of the arms, legs, and the body. 411 00:29:27,220 --> 00:29:31,500 The other half of the performance is created by the puppeteers, while they 412 00:29:31,500 --> 00:29:36,200 operate a specially designed radio remote control, which controls the eyes 413 00:29:36,200 --> 00:29:37,200 mouth of the Gorgs. 414 00:29:38,090 --> 00:29:41,910 Now that you know the secrets of the Gorgs, watch as six performers bring 415 00:29:41,910 --> 00:29:46,070 characters to life. Come to my heart, we'll never part. 416 00:29:46,390 --> 00:29:49,890 Now is the time for true loving to start. 417 00:29:50,430 --> 00:29:54,190 Laughter and loving alive in our hearts. 418 00:29:56,370 --> 00:29:59,950 These are the gifts that I give to thee. 419 00:30:00,410 --> 00:30:05,190 Gifts from the dear heart of me. The very same mitten -like rig that we use 420 00:30:05,190 --> 00:30:09,740 work the mouths of the giant Gorgs is used to articulate the head, face, and 421 00:30:09,740 --> 00:30:11,780 body movements of the tiny doozers. 422 00:30:12,020 --> 00:30:14,740 Look at the chrome on that thing, huh? 423 00:30:15,120 --> 00:30:17,700 Look at the gears and the wheels. 424 00:30:18,300 --> 00:30:19,840 It's just incredible. 425 00:31:02,640 --> 00:31:06,220 And sometimes it's another. And sometimes you can't tell which is which. 426 00:31:06,580 --> 00:31:07,580 So long now. 427 00:31:10,500 --> 00:31:13,480 Doesn't it make you feel like your brain has turned to kibbles? 428 00:31:13,680 --> 00:31:16,640 Well, don't worry about that doozer, Jojo. I just sent him off to Muppet 429 00:31:16,640 --> 00:31:20,460 Central. Please, sir, don't give away the secrets of the Muppets. 430 00:31:20,780 --> 00:31:21,920 No, no, no, no, no. 431 00:31:22,260 --> 00:31:26,840 Um, sir, it strikes me that revealing the secrets of the Muppets... Hi, Vicki. 432 00:31:27,160 --> 00:31:28,160 How are you? 433 00:31:28,240 --> 00:31:32,700 Oh, you surprised me. Sure, you were... Surprised I knew your name, right? Well, 434 00:31:32,840 --> 00:31:35,880 it's not just that. I'm just very jumpy tonight. 435 00:31:36,160 --> 00:31:41,760 All this talk about electronic effects and arm wires, it's very unsettling 436 00:31:41,760 --> 00:31:44,520 and... Oh, Fidget, what are you doing? 437 00:31:44,980 --> 00:31:48,320 Pay no attention to this semi -robotic person on your right. 438 00:31:48,940 --> 00:31:50,300 Well, what's all this about? 439 00:31:50,620 --> 00:31:53,680 Oh, Vicki, I'm learning to work puppets. Isn't it great? 440 00:32:01,660 --> 00:32:04,860 How do puppets ride bicycles? 441 00:32:05,300 --> 00:32:07,180 Well, now you've asked the big one. 442 00:32:07,420 --> 00:32:11,980 Because ever since the day the Muppet movie premiered in 1979, people have 443 00:32:11,980 --> 00:32:14,540 asking me to explain how the Muppets ride bicycles. 444 00:32:16,100 --> 00:32:20,260 Well, here's Kermit taking his first ever bicycle ride in the Muppet movie. 445 00:32:21,000 --> 00:32:22,560 Now, he's a marionette here. 446 00:32:22,800 --> 00:32:25,160 That's a puppet that's worked on strings from above. 447 00:32:25,600 --> 00:32:28,760 And the marionettist is riding in a crane high overhead. 448 00:32:29,840 --> 00:32:34,280 Now, we would constantly intercut this shot with a shot of a hand puppet 449 00:32:34,280 --> 00:32:35,259 of Kermit. 450 00:32:35,260 --> 00:32:38,840 And for the hand puppet version, I would actually operate Kermit on a little low 451 00:32:38,840 --> 00:32:39,920 rolling dolly. 452 00:32:40,900 --> 00:32:44,300 But then when we got to the Great Muppet Caper, we decided that bicycles were 453 00:32:44,300 --> 00:32:45,300 fun for Muppet. 454 00:32:45,520 --> 00:32:48,700 So first of all, we did a bicycle shot with just Kermit and Piggy. 455 00:32:49,040 --> 00:32:52,080 And we found as soon as we did two bicycles, it was really easy. 456 00:32:52,380 --> 00:32:55,500 Because then we didn't have to worry about holding the bicycle up because we 457 00:32:55,500 --> 00:32:58,400 could tie the two bicycles together across the axle. 458 00:32:59,260 --> 00:33:02,860 And once they were attached together with a stiff rod, then we could just 459 00:33:02,860 --> 00:33:04,480 both bicycles with a single string. 460 00:33:05,680 --> 00:33:09,880 Then we could edit that shot to a shot of Kermit in the foreground, operated as 461 00:33:09,880 --> 00:33:13,580 a hand puppet, and Miss Piggy being marionette -controlled behind him. 462 00:33:14,260 --> 00:33:18,240 So we did several versions of that, and we were constantly intercutting one way 463 00:33:18,240 --> 00:33:19,880 of working the character with another way. 464 00:33:20,420 --> 00:33:23,480 And that's how we could get a full range of emotions and shots. 465 00:33:27,350 --> 00:33:30,550 Watch the wind play tag in the trees. 466 00:33:31,130 --> 00:33:36,970 The world is so bright, so perfectly fair. 467 00:33:39,510 --> 00:33:43,370 Now when we needed to show a whole group of characters, we just tied all the 468 00:33:43,370 --> 00:33:44,610 bicycles together with rods. 469 00:33:44,870 --> 00:33:48,330 If you look closely, you can see a rod going across between the bicycles. 470 00:33:48,910 --> 00:33:52,810 Then we could radio control the mouths of the characters and pull the whole 471 00:33:52,810 --> 00:33:53,810 thing along with strings. 472 00:33:55,230 --> 00:33:59,310 In this shot, where they're going away from us, the whole rig is being pulled 473 00:33:59,310 --> 00:34:01,670 from in front by two big tricycles. 474 00:34:01,970 --> 00:34:05,610 You have to look close because they're way down the road there, but one of 475 00:34:05,610 --> 00:34:07,190 is being ridden by my son Brian. 476 00:34:08,170 --> 00:34:12,870 Then we had a sequence where Kermit and Piggy rode around in circles, but that 477 00:34:12,870 --> 00:34:15,590 rig was so complicated you're going to have to figure that one out for 478 00:34:23,550 --> 00:34:29,830 Yes, couldn't we ride, side by side? 479 00:34:46,190 --> 00:34:48,929 Look, Ma, no brains! 480 00:36:07,720 --> 00:36:09,360 of tricks we haven't even talked about yet. 481 00:36:09,640 --> 00:36:13,580 For instance, on the storyteller, we take John Hurt and turn him into a kind 482 00:36:13,580 --> 00:36:14,538 a half puppet. 483 00:36:14,540 --> 00:36:15,920 It's called prosthetic makeup. 484 00:37:09,970 --> 00:37:12,210 Well, sir, we've seen it all now. 485 00:37:12,530 --> 00:37:15,790 Well, you haven't seen much about our puppeteers yet. What about them? 486 00:37:16,170 --> 00:37:19,090 Well, our puppeteers are probably the greatest secret we've got. 487 00:37:19,470 --> 00:37:20,830 You jest, sir. 488 00:37:21,050 --> 00:37:22,050 Not at all. 489 00:37:22,290 --> 00:37:26,290 All that technology helps, but the biggest secret of all is that behind the 490 00:37:26,290 --> 00:37:28,330 scenes, we've got a team of really great performers. 491 00:37:29,030 --> 00:37:32,710 If you'd widen the shot for a second, you see, Jojo, you, for instance, are 492 00:37:32,710 --> 00:37:34,150 performed by Camille Bonora. 493 00:37:34,750 --> 00:37:35,569 You're on! 494 00:37:35,570 --> 00:37:36,570 Say something! 495 00:37:36,670 --> 00:37:37,670 Hi, Tim. 496 00:37:41,420 --> 00:37:43,860 And now let's see some of the performers in Muppet Central. 497 00:37:44,860 --> 00:37:46,140 That's it. Show's over. 498 00:37:46,860 --> 00:37:50,720 Thanks for watching. You can turn off your set now. Go read a book or 499 00:37:50,900 --> 00:37:54,000 No, no, don't go. I'm going to tell all of our secrets, and we're going to start 500 00:37:54,000 --> 00:37:54,959 with Waldo. 501 00:37:54,960 --> 00:37:56,960 Waldo? What a fabulous idea. 502 00:37:57,640 --> 00:37:59,580 Explaining Waldo will take the rest of the hour. 503 00:38:00,420 --> 00:38:01,460 Come on out, Waldo. 504 00:38:02,880 --> 00:38:04,000 Oh, yes, sir. 505 00:38:04,280 --> 00:38:05,840 Waldo reporting for duty, sir. 506 00:38:06,380 --> 00:38:08,900 You may tell any secret about me you desire. 507 00:38:09,400 --> 00:38:11,900 All right, you are a computer -generated graphic. 508 00:38:12,260 --> 00:38:13,260 That is correct. 509 00:38:13,320 --> 00:38:14,800 Go ahead, take your best shot. 510 00:38:15,060 --> 00:38:19,340 Well, you're manipulated by a puppeteer, but you only exist as electronic 511 00:38:19,340 --> 00:38:21,220 information on a television screen. 512 00:38:22,300 --> 00:38:25,980 Sticks and stones can't break my bones, and facts will never hurt me. 513 00:38:26,360 --> 00:38:27,700 I can see that, Waldo. 514 00:38:27,960 --> 00:38:30,200 In fact, my life is an open book. 515 00:38:31,160 --> 00:38:33,360 How does he do that? 516 00:38:33,680 --> 00:38:36,400 Well, come on, Jojo, I'll show you. It's time for the next tape edit. 517 00:38:39,980 --> 00:38:42,440 at Pacific Data Images in Sunnyvale, California. 518 00:38:42,760 --> 00:38:43,760 Come on, JoJo. 519 00:38:44,940 --> 00:38:48,440 Wow, the world seems so small when you travel this way. 520 00:38:49,060 --> 00:38:51,740 Hey, aren't I matted into this shot? 521 00:38:52,380 --> 00:38:53,960 I'm getting the hang of this. 522 00:38:54,400 --> 00:38:56,840 So, JoJo, do you recall seeing one of these before? 523 00:38:57,160 --> 00:39:01,360 Sure. That's the electronic mitten thing you use to run the radio -controlled 524 00:39:01,360 --> 00:39:02,620 puppets like the Doozers. 525 00:39:02,840 --> 00:39:06,380 Well, it's a version of it. But in this case, what we're doing is we're using it 526 00:39:06,380 --> 00:39:09,100 to create the picture of Waldo on the computer screen over there. 527 00:39:10,220 --> 00:39:14,260 But now, normally, Steve Whitmire, one of our chief puppeteers, is operating 528 00:39:14,260 --> 00:39:15,078 this guy. 529 00:39:15,080 --> 00:39:19,120 But I'll just do it to demonstrate it. And over here, we have Rex Grignion, who 530 00:39:19,120 --> 00:39:20,460 is our computer animator. 531 00:39:20,680 --> 00:39:24,220 Okay, and what Rex is doing is he's taking these moves that I'm doing with 532 00:39:24,220 --> 00:39:27,940 hand and converting it into Waldo on the screen there. See? 533 00:39:28,160 --> 00:39:32,080 And the really great thing is that the computer does it all in real time. 534 00:39:32,340 --> 00:39:36,100 As Jim moves his hand around in the puppet, the image of Waldo flies around 535 00:39:36,100 --> 00:39:37,100 the screen, too. 536 00:39:39,470 --> 00:39:41,430 but what you get is a moving television picture. 537 00:39:41,850 --> 00:39:43,090 Say, listen, Jojo. 538 00:39:43,390 --> 00:39:45,410 Have you ever seen a computer graphic sneeze? 539 00:39:45,850 --> 00:39:46,828 Uh, no, sir. 540 00:39:46,830 --> 00:39:49,850 Well, it's one of the wonderful sights of the world. Let me tell you. Watch 541 00:39:49,850 --> 00:39:51,030 this. Here we go. 542 00:39:52,730 --> 00:39:53,730 Oh, 543 00:39:54,470 --> 00:39:56,750 my goodness. You seem to sneeze your skin off. 544 00:39:56,990 --> 00:40:00,210 Yes, well, I'm sort of a wireframe now. Isn't that wonderful? 545 00:40:08,460 --> 00:40:10,200 The picture view still looks pretty terrible. 546 00:40:10,420 --> 00:40:13,620 The image you see on the screen is called a low -resolution picture. 547 00:40:13,960 --> 00:40:17,340 It's not really that good, but it's about the best the computer can do in 548 00:40:17,340 --> 00:40:21,400 time. But you see, what we can do is we can take this crummy -looking low 549 00:40:21,400 --> 00:40:26,620 -resolution picture, and we can run it through yet another computer into high 550 00:40:26,620 --> 00:40:29,700 -resolution, and it comes out stunningly beautiful like this. 551 00:40:31,660 --> 00:40:33,540 Come on, JoJo. 552 00:40:38,390 --> 00:40:43,190 You know, guys, when we do a two -minute piece with Waldo, it takes the computer 553 00:40:43,190 --> 00:40:45,730 120 hours to create the final picture. 554 00:40:46,430 --> 00:40:50,290 This is more than a simple little country dog can comprehend, sir. 555 00:40:50,850 --> 00:40:55,050 Okay, but now that we've talked about Waldo, let's go back to Muppet Central 556 00:40:55,050 --> 00:40:56,330 talk about the rest of the characters. 557 00:40:56,710 --> 00:40:58,010 No way. 558 00:40:59,470 --> 00:41:00,750 Bring them back, Kermit. 559 00:41:01,900 --> 00:41:02,900 Back in shot, everybody. 560 00:41:03,160 --> 00:41:06,880 Everybody back in the shot. We refuse to come in. He's not going to come in. No 561 00:41:06,880 --> 00:41:08,220 way. Come on, guys. 562 00:41:08,800 --> 00:41:10,320 Come back in. It's Jim's orders. 563 00:41:10,800 --> 00:41:12,000 Get back in here, everybody. 564 00:41:12,280 --> 00:41:13,280 All right. 565 00:41:14,920 --> 00:41:18,240 He's not going to do it, is he? No, he's not. He wouldn't. Yeah, but what if he 566 00:41:18,240 --> 00:41:22,560 did? Yeah, but what if he doesn't? What if he doesn't? First of all, we'll take 567 00:41:22,560 --> 00:41:24,820 away all the computer animation of Muppet Central. 568 00:41:25,780 --> 00:41:28,500 And now, we just pull back to see the puppeteers. 569 00:41:29,120 --> 00:41:30,120 No, don't do that! 570 00:41:38,540 --> 00:41:40,720 main puppeteers of Muppet television. 571 00:41:40,980 --> 00:41:45,360 Yuck. And the one under me is Jim Henson, but you probably already know 572 00:41:45,360 --> 00:41:46,360 think they do. 573 00:41:46,660 --> 00:41:51,140 Okay, and then the man with the beard, operating beard, is Mr. Jerry Nelson. 574 00:41:51,580 --> 00:41:53,400 Oh, I just want to say one. 575 00:41:53,700 --> 00:41:57,140 Are you listening? This is very Uhtra. 576 00:41:57,540 --> 00:42:01,680 Yeah, beard, but the one thing you've got to remember is that Uhtra's in. 577 00:42:02,950 --> 00:42:07,330 Yeah, exactly. Whatever that means. Oh, I hate this. I hate it, I tell you. And 578 00:42:07,330 --> 00:42:11,370 then operating gonzo is Mr. Dave Gold. Well, the thing to remember here is that 579 00:42:11,370 --> 00:42:15,090 my own personality has absolutely nothing to do with this weirdo. Oh, 580 00:42:15,150 --> 00:42:17,250 right. Sure, they believe that, Dave. 581 00:42:17,850 --> 00:42:20,690 Okay, and here with Vicki is Miss Fran Brill. 582 00:42:21,010 --> 00:42:23,130 Who understands my every motivation. 583 00:42:23,950 --> 00:42:27,330 I try, Vicki. God knows I try, but she's so unpredictable. 584 00:42:28,910 --> 00:42:32,130 Okay, and over here with Bean Bunny is Mr. Steve Whitmire. 585 00:42:32,390 --> 00:42:34,790 Well, Bean Bunny's a lot more comfortable on camera than I am. 586 00:42:35,050 --> 00:42:36,750 Yeah, I'm a lot cuter, too. 587 00:42:37,150 --> 00:42:38,570 Oh, that's for sure. 588 00:42:38,890 --> 00:42:43,990 Okay, and here with Leon, Mr. Kevin Clash. Yeah, for the first time I've 589 00:42:43,990 --> 00:42:45,170 Leon's tail in the shot. 590 00:42:45,410 --> 00:42:47,730 Yeah, now let's get our tails out of here. 591 00:42:48,690 --> 00:42:49,690 Okay, 592 00:42:49,890 --> 00:42:52,410 and so there you have it, ladies and gentlemen. 593 00:42:53,080 --> 00:42:54,540 These are the Muppet performers. 594 00:42:55,060 --> 00:42:56,060 Oh, yeah! 595 00:43:22,980 --> 00:43:26,060 decisions. I go by my own rules. 596 00:43:26,340 --> 00:43:30,000 I gotta live the life I want to. I'm no fool. 597 00:43:30,300 --> 00:43:31,300 There you go. 598 00:43:32,120 --> 00:43:36,580 Sometimes muddy water winds up on my path. 599 00:43:37,060 --> 00:43:38,060 Let me 600 00:44:27,210 --> 00:44:28,730 Ain't no time to stop. 601 00:44:29,010 --> 00:44:32,690 Smile that smile and take us to the top. 602 00:44:34,470 --> 00:44:36,630 When you get that feeling. 603 00:45:11,850 --> 00:45:15,850 And they are the final secret, because they are the folks behind the fantasy. 604 00:45:16,590 --> 00:45:20,690 Everything back to normal, Kermit? Well, yeah, I think so, Jim. You know, I 605 00:45:20,690 --> 00:45:24,870 think everything is back to normal. I hope so. So do I. I couldn't take it 606 00:45:24,870 --> 00:45:26,830 anymore. Looks normal to me. 607 00:45:27,450 --> 00:45:31,470 Still, I don't dare look down. No, no, listen, we should promise each other to 608 00:45:31,470 --> 00:45:33,190 never look down ever again. 609 00:45:33,450 --> 00:45:34,450 Yeah. 610 00:45:34,470 --> 00:45:36,490 You know, gang, it is okay. Look. 611 00:45:37,330 --> 00:45:38,770 That's what it is. Look, it's all right. 612 00:45:40,940 --> 00:45:43,680 There's no one down there. There's nothing but floor. 613 00:45:44,040 --> 00:45:45,840 It was all a bad dream. 614 00:45:46,200 --> 00:45:47,200 Yeah. 615 00:45:47,420 --> 00:45:48,420 Yep, 616 00:45:48,620 --> 00:45:50,140 Jim, everything's back to normal. 617 00:45:50,460 --> 00:45:51,940 Well, that's the way it is around this place. 618 00:45:52,220 --> 00:45:53,900 The fantasy always wins. 619 00:45:54,200 --> 00:45:55,200 Yeah. 620 00:45:56,820 --> 00:45:57,820 Well, 621 00:46:01,800 --> 00:46:05,940 Mr. Henson, I just want to thank you, sir, for answering all my questions. 622 00:46:06,220 --> 00:46:08,340 It's been a real treat for me. 623 00:46:08,560 --> 00:46:10,080 Well, it's my pleasure, Jojo. 624 00:46:10,620 --> 00:46:11,920 Just one more thing, sir. 625 00:46:12,500 --> 00:46:14,080 It's about the white lion. 626 00:46:14,660 --> 00:46:17,640 Well, I don't know why he's there, if that's what you're asking. 627 00:46:17,860 --> 00:46:18,860 No, no. 628 00:46:18,880 --> 00:46:23,340 I was just wondering, sir. Is he a real lion, or is he a puppet? 629 00:46:24,020 --> 00:46:25,900 Well, why don't you ask him yourself on the way out? 630 00:46:26,260 --> 00:46:28,720 I'll do that, sir. I will indeed. 631 00:46:29,040 --> 00:46:31,020 And thank you. Thank you again. 632 00:46:32,120 --> 00:46:34,160 But be careful. It's his feeding time. 633 00:46:42,040 --> 00:46:44,120 That's our show for tonight. We'll see you again next time. 634 00:46:44,860 --> 00:46:45,860 Okay.