Muppet Horses
Fred the Wonder Horse
PERFORMER Jerry Nelson
DEBUT 1974 DESIGN Caroly Wilcox designer/builder
Duke
PERFORMER Richard Hunt
DEBUT 1975
Buster
PERFORMER Martin P. Robinson
DEBUT 1980
Old Skyball Paint
PERFORMER Jerry Nelson
DEBUT 1979
Summer Squall
PERFORMER Fran Brill
DEBUT 1994
Marian
PERFORMER Jennifer Barnhart
DEBUT 2003
Richmond and Skyball Paint
Pferd
PERFORMER Carsten Morar-Haffke
DEBUT 2000
DESIGNERS Ed Christie, Rollie Krewson
Paul Revere
PERFORMER Jerry Nelson
DEBUT 1977
Richmond the Horse
PERFORMER Dave Goelz
DEBUT 1992
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Caroly Wilcox Death - Obituary | Caroly Wilcox Dead - Passed Away
Caroly Wilcox Death - Dead, Obituary, Funeral, Cause Of Death, Passed Away: On January 11th, 2021, InsideEko Media learned about the death of Caroly Wilcox through social media publications made on Twitter. Click to read and leave tributes.
Caroly Wilcox Death – Dead, Obituary, Funeral, Cause Of Death, Passed Away: On January 11th, 2021, InsideEko Media learned about the death of Caroly Wilcox through social media publications made on Twitter.
InsideEko is yet to confirm Caroly Wilcox’s cause of death as no health issues, accident or other causes of death have been learned to be associated with the passing.
This death has caused a…
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Hyperallergic: Jim Henson’s Muppet Prototypes and Sketches Prove He Was a Genius, No Strings Attached
A build of the muppet Rowlf by puppet maker Tim Miller from Don Sahlin’s original design (all photos by the author for Hyperallergic)
At the end of “The Jim Henson Exhibition,” now on permanent display at the Museum of the Moving Image in Astoria, the visitor is faced with a wall of screens bearing slideshow episodes from the Muppet Master’s career. Henson himself naturally figures large in the collage, but so do his collaborators. Performer Caroll Spinney is seen half harnessed into his Big Bird rig, Frank Oz mugs as Fozzie Bear, and puppet maker Don Sahlin is captured in a candid moment adjusting a few of his creations. Over these images Henson’s voice can be heard saying “All the work that I do is very much a group effort. It’s a lot of us that do this.” Like the Muppets, Henson’s team was an ensemble whose labors, and much of the technical work on view, have, until now, largely gone unseen.
The exhibit, made up of an immense collection of finished pieces donated by the Henson family, reveals Jim’s many roles: as director, writer, performer, artist, and, along with his colleagues, a technical innovator and craftsman. By the entrance is a display of puppets spanning his creative life, from the primitive Pierre the French Rat, the puppet he used to audition for his first gig in television, to experimental creatures of latex and flocked foam, like the taxidermy-eyed vixen, Vazh from the doomed Saturday Night Live segment, “The Land of Gorch.” Moving away from the display, a chronology unfolds with welcome interactive demonstrations suitable for tykes.
In an alcove, hand-and-rod puppets, the prototype for the major players in the Muppet-verse, can be manipulated (arms with the plastic rod, mouth with the sleeved hand) in view of a camera and TV screen to recreate clips from Henson’s first show, Sam and Friends. Lip-synching to arias with these puppets proves difficult, but hint at Jim and his partner (and later wife) Jane Nebel’s, early efforts at puppetry on the air. As recounted in Christopher Finch’s 1994 book, Jim Henson: The Works, Jane and Jim would watch from onset monitors that “enabled them to see not only their own performances as they were happening, but also exactly what the audience would see.” The use of the monitors led Henson to experiment with perspective and camera angles and ultimately develop a uniquely telegenic style of puppet that was flexible and expressive in close-up. The original Kermit (then a lizard) made of a cardboard skeleton, Henson’s mother’s old coat, and a halved Ping Pong ball for eyes, had a malleable head well suited to the full articulation of the human hand, offering a wider range of expression.
It was Don Sahlin, however, whom Henson credited with the “basic style“ of the Muppets. First joining Jim in the creation of Rowlf the Dog (on display alongside Henson’s original sketches) Sahlin’s background in puppetry and special effects, when matched with Henson’s designs, produced a rare alchemy of imagination and function. Their creative union produced new creatures like the first full-body Muppet, a dragon that spewed fire in an ad for La Choy.
Sketch for the La Choy Dragon, one of many ads the Henson Company worked on
While commercial work throughout the late ’50s and early ’60s provided a nest egg for Henson’s young studio (and an equally invaluable incubator for experimenting with puppetry in a pre-taped environment), its biggest test would come with the advent of Sesame Street. The demands of the show gave rise to a new kind of Muppet, a felt factotum called an “Anything Muppet.” Designed by Henson and puppet maker and performer Caroly Wilcox, the Anything Muppet is a background player that, by Mr. Potatohead-type self-adhesive features, can assume a different look on the fly. In the exhibit, a “fat blue” Anything is perched on a lazy susan with sundry eyes, noses, and wigs visitors can apply. Though designed to serve one-off characters, a placard indicates that Sesame regulars Count Von Count and Prairie Dawn are Anythings.
An Anything Muppet with removable features. When used on The Muppet Show, the Anythings were called “Whatnots.”
Sesame also brought about the development of headsets for puppeteers and allowed Henson to work on more experimental fare in the form of brief, interstitial learning segments featuring unconventional puppets and animation. Nonetheless, the show’s success chafed, as he feared his medium was establishing a hard-to-shake association with kiddie entertainment. This changed with The Muppet Show which, while short on formal innovation, provided the cast and formula for one of Henson’s earlier ambitions: a feature film.
The last stretch of the exhibit is devoted to Henson’s films and the concurrent addition of machinery in his puppets. Among the first uses of radio control in Henson’s puppetry featured in the bike riding scenes in The Muppet Movie and Muppets Take Manhattan, and culminated in puppets that were, in part or largely, controlled remotely. Technical wizard Franz “Faz” Fazakas, incorporated swiveling servos into the anatomy of the Doozers from Fraggle Rock and later used “Waldos,” mittens that map to the mechanical face of a puppet, to breathe remarkable life into the creatures from The Dark Crystal and Labyrinth, a computer-generated puppet named Waldo C. Graphic for Disneyworld’s 3D Muppet Movie, and the Sinclair family from Dinosaurs, which aired shortly after Henson’s early death.
Upon exiting, one is struck by the variety of work produced by Henson, and sobered by all the advances he has missed. What would he make of 3D printing? How might his continued influence have pushed back on Hollywood’s overreliance on CG over practical effects? Thankfully, Henson’s legacy survives in the family of collaborators that helped him make his mark.
The Jim Henson Exhibition is now on permanent display at the Museum of the Moving Image in Astoria, Queens.
The post Jim Henson’s Muppet Prototypes and Sketches Prove He Was a Genius, No Strings Attached appeared first on Hyperallergic.
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none of you commit to muppet tullys like i do. in order: heather henson, rowlf the dog, sam the eagle, frank oz, zoe from sesame street, lisa henson, bert (and he's gay with bard ernie), dave goelz, matt vogel, jane henson, richard hunt, caroly wilcox/caroll spinney. all named for muppets, jim henson's family or famed muppeteers :)
EDITED WITH TWO MORE lew zealand and janice from the electric mayhem. this shit is not a joke to me this is SERIOUS!
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Muppet Fact #129
The final sequence of The Great Muppet Caper was the last one to be filmed. Caroly Wilcox relayed in a memo several different ways for the parachute scene to be filmed. These included: using costumed parachutists wearing Muppet masks, using oversized dummies carved to look like the characters, or shooting a scale model of plane with miniatures in a wind tunnel. Jim Henson wanted to go with the last suggestion made by Wilcox, which was waiting until the end of filming and using the real puppets in weighted harnesses.
In response, Wilcox exclaimed, "If they get ruined, they get ruined." Filming would be over, so there would be relatively zero consequences.
The final close up shots were recorded in the studio, and for the long shots, the puppets were thrown out of the plane.
Sources:
1/21/1981 – ‘Begin parachute sequence.’ Jim Henson's Red Book. Jim Henson. Historical information provided by The Jim Henson Company Archivist.
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