Taking Your Puppetry To The Next Level

[Buck-Beaver]

I think that one of the most amazing things about being a member of this forum for years now is seeing just how many cool projects members have done and are working on. It's amazing to think that most of what's shared here (patterns, resources, web sites, videos, etc.) just didn't exist until a few years ago.

I was reading a book about Walt Disney recently and it struck me that where we're at with puppetry on the web is where animation was at in the early 1930s...lots of young people experimenting in a medium that's still relatively new (then it was sound & colour cartoons; today it's the internet).

If we're really honest with ourselves, we have to admit that most of the work that's created here (and yes, of course, mine included) lacks a certain level of sophistication and professional polish. I'm not saying there is not a lot of talent here (as everybody knows, there's tons of amazing puppetry talent here), it's just that we haven't seen (yet) truly revolutionary work on the level of a Jim Henson, a Walt Disney or a Pixar.

I've been thinking about how to bridge that gap and take things "to the next level". I wrote a post on my PuppetVision Blog a few days ago that explains what I mean a little better and includes some examples.

I'd love to hear everyone else's thoughts and opinions about this.

 

[mrhogg]

That's a good post. I've been mulling it over for the past couple days. I don't have a response yet, but it's good stuff to think about.

 

[Super Scooter]

I thought alot about this a few years ago. I had made three mini-movies (15-30 minutes each). With the first one, the dialogue was all pre-recorded, so (with the exception of one musical number which I think is one of the best things I've ever filmed) the lip-synch wasn't always very good. For the second video we got rid of the pre-recorded dialogue, and did it all live, but this time we had a lot of problems with composition. The third try went a little better, but because of the location, I was working without a camera. All of these set backs kind of discouraged me from shooting anything for a while. There's some good stuff in them, some zany humor that I think you can only get away with in puppetry, but they could have been so much better... even if I was only 15-16 at the time.

After almost six years away from it, I think I'm ready to start taping stuff again. I have a better idea of how to pull it all together. Thanks for posting this, Buck Beaver! Very nice challenge. I always prefer to see puppets doing puppety things rather than puppets just filling "sitcom" roles too.

 

[ScrapsFlippy]

You make very sound points, Buck.

I think the best way to bridge the gap is to just keep pushing through it. I ran across a great quote from Bill Irwin about the same time I read your post; and I've been ruminating on all of this since my last post about "The Felties" on my own blog. Here's the Bill Irwin quote (it's a bit long):

Honesty and perseverance make moments of brilliance -- possibly. So in a certain sense you can say that honesty and perseverance are more important than, or wiser than, striving for a way to unleash some brilliance. You never want to make light of brilliance, of a moment of transcendent brilliance, but sometimes it's less important than just continuing to strive for it. In fact, those moments will never happen unless you keep working and plugging and looking for the possibility of a surprising moment. Because as soon as you're consciously looking for a way to unleash brilliance, you're about 90 percent defeated.

I think the way to bridge the gap is to keep pushing, keep producing content. You're no doubt familiar with Gladwell's new book Outliers and his "10,000 hour rule."

All of the interconnection we have online can help fuel this push. For the past year I've followed my wife as she's begun to build a career as a burlesque performer. I've noticed the most fascinating thing: Whenever a performer from out of town passes through and performs, there is a period of wild creativity among the local performers. (This among performers who are already wildly creative!) The out-of-towners don't just bring any old act with them. They tend to bring their most elaborate costumes, their highest concepts, their most hilarious numbers-- in short, they bring their "A-game." This can't help but inspire.

I will be the first to admit that I don't bring my "A-game" to the puppet videos I post. I've needed to build a new rubber chicken puppet since ... oh, since day one. I then see things like you mention, "The Mysterious Ticking Noise" for instance, and I get personally discouraged. This clearly doesn't work, and is the wrong attitude to take. I know this, and I still allow myself to get discouraged, and put off plans I have for the next installment of "Disembodied Animal Head Theatre" (or the first installment of "The Felties," for that matter.)

The Beach Boys "Pet Sounds" album was inspired by the Beatles' "Rubber Soul." "Pet Sounds" in turn inspired "Sgt. Pepper's Lonely Hearts Club Band." I believe that staying up-to-date on the best in puppetry, and fostering a friendly competitive attitude -- a healthy spirit of good sportsmanship -- can help drive us collectively to the next level.

Well at any rate, it would help me get off my rumpus and upload something new.

 

[mrhogg]

I will be the first to admit that I don't bring my "A-game" to the puppet videos I post. I've needed to build a new rubber chicken puppet since ... oh, since day one. I then see things like you mention, "The Mysterious Ticking Noise" for instance, and I get personally discouraged. This clearly doesn't work, and is the wrong attitude to take. I know this, and I still allow myself to get discouraged, and put off plans I have for the next installment of "Disembodied Animal Head Theatre" (or the first installment of "The Felties," for that matter.)

I try to be encouraged by things like that; look at the response this or that thing got, how well received it was, how technically or creatively excellent it was, and I want to exceed it. If you can look at those as high-water marks that you yourself can aim for, rather than things that are too good/successful/whatever, that are better than you'll able to achieve, then you'll be encouraged.

I seek out puppeteers better than me because I want to see how things are done better than the way I do them, and I want to see what lessons I can learn to apply to my own work.

And, yes, sometimes I sound terribly Pollyanna-ish.

 

[ScrapsFlippy]

I try to be encouraged by things like that; look at the response this or that thing got, how well received it was, how technically or creatively excellent it was, and I want to exceed it. If you can look at those as high-water marks that you yourself can aim for, rather than things that are too good/successful/whatever, that are better than you'll able to achieve, then you'll be encouraged.

I couldn't agree more. I've noticed my propensity for getting discouraged. If I did "New Year resolutions" changing this attitude would be at the top of the list. (Followed by "lose 10 pounds.")

I think it's great that there is so much good -- and consistently good -- work being done. I know that I just need to get over myself and let the spirit of friendly competition kick in and drive me to do better work. It's difficult at times, shutting up the ego and concentrating on the work.

 

[staceyrebecca]

honestly, I keep hoping that with each show I do, each puppet I make, I *do* push myself to the next level, but I know this isn't something I can do alone. If I were to do this alone, I'd still be making the wonky-eyed puppets of yore:
http://web.mac.com/puppetslam/iWeb/Profiles/GreatArizona-Gallery_files/slideshow.html?slideIndex=1
*cough* terribly embarrassing, but we all have to show our awkward stage photos off at least once...thankfully its the internet where things can last a lifetime--ok, ok I'm still somewhat *in* my embarrassing awkward phase--that's another post for another time. Or maybe its for this post...bah.

In improv, there are meccas around the country to visit for summers...or move to as a lot of people I know happen to do. 3 places off the top of my head 1. Chicago, 2. New York, & 3. Los Angeles. There's a strong enough group of improvisers that live in those cities that can teach hoards of people various styles, forms, and philosophies of improv. I wish there were such a place (or places) for puppeteers. In its infancy (which was this last century), Improv was such a niche thing. Now its something every actor has to have on their resume. Shows like The Office, movies like Step Brothers (oh heaven above, i love that movie) all rely and are surrounded by those magical techniques. (Ok geeking out. sorry) Anyway...there's nothing like that in puppetry and puppetry has been around just about as long as improv.

I know there's Connecticut & various other colleges, but that's something for which you need lots of money and lots of time. I'm cool with the lots of time bit...its the $ that I have trouble with. This artform is very accessible (like Andrew said, how many people build their own puppets?) but the advancement and higher learning of it is not nearly as accessible.

So maybe what i'm saying is, someone needs to start a movement. You.. sitting there with the face. Start something. You know puppeteers. study and make it awesome. someone with more experience, gather a group, pool your resources, teach those who know less.

People in this town are interested in seeing puppetry. They're interested in laughing, in being awed by, and being exposed to new forms of puppetry. and there I sit writing shows in which small cities of paper are destroyed by a giant chicken making out with a t-rex. (yet I giggle just from thinking about it)

I dont know where i'm going with the rambling. Just thought-
vomit I suppose.

Maybe part of the jump in quality is going to come from finding people who *are* good with film production & letting them do their jobs.

honestly I try to find my encouragement in just pressing on. having feedback on things is precious to me. trying to make something or work on a personal project every day is essential for me.

again, I think I'm rambling at this point.

I want to do more things like the BNL video. That came together in like 6 weeks (maybe less?) start to finish. Why wait until you're paid gobs of money (and by gobs I mean very little)? There aren't a whole lot of people in Phoenix with the skills to do this...that I know personally. So I guess I need to network.

again, back to the rambling.

I hope going to the georgia festival will push me forward. do I take myself a new direction or do I try to improve what I've got going on?

/rambling.

 

[mrhogg]

Are there not many puppetry schools? I've not done any searching for them before.

 

[davidmartiste]

I know there's Connecticut & various other colleges, but that's something for which you need lots of money and lots of time. I'm cool with the lots of time bit...its the $ that I have trouble with. This artform is very accessible (like Andrew said, how many people build their own puppets?) but the advancement and higher learning of it is not nearly as accessible.

So maybe what i'm saying is, someone needs to start a movement. You.. sitting there with the face. Start something. You know puppeteers. study and make it awesome. someone with more experience, gather a group, pool your resources, teach those who know less.

......

I dont know where i'm going with the rambling. Just thought-
vomit I suppose.

Stacey - Thanks for your rambling. It hit a nerve for me and I almost wonder if this should be a separate thread. At 39, I'm far from college age or able to afford the time or money for long-term higher learning but, I am eager and able to tackle what inspires me creatively. I, too, wish that there were more accessible puppeteers and builders able to teach those of us who can give a week at a time or evening workshops, etc. I contacted a couple of pros who never responded but, didn't give up. I'm taking the Lone Wolf Tribe [foam sculpting] workshop in Brooklyn tomorrow night and have been researching other ways to learn my craft. I found a hand/rod puppeteer near NYC who is able to work with me one on one to improve my puppet technique. We're scheduled to meet at the end of the month. I was encouraged to see Kanja Chen offering his services on his website for a personalized workshop in on-camera puppeteering or puppet building. I could certainly learn something from him and, maybe one day, would use a vacation to go up and learn for a few days. Since I'm on the East coast U.S., I'd love it if someone like James Wojtal or Philip Hatter would conduct a fleece/foam puppet building workshop [you guys listening?]. I don't mind learning what I can on my own but, you learn by leaps and bounds when you can learn hands-on from a pro.

I wish someone was teaching me puppet building skills when I was a wee lad so, In the spirit of passing the torch... a friend of mine works for a local interactive children's museum and he is thrilled with the puppets I've been making and thought I would be a good fit to teach the basics of puppet making. I didn't want to talk much about it because it's still being worked out and we're figuring out our best techniques, etc but, I'm happy at this opportunity to inspire a new generation and to help develop the skills early.

 

[Buck-Beaver]

Just some rambling thoughts after reading the discussion here...I used to hate criticism and if I'm honest with myself I still don't deal with it well and I think most people are like that. Except that criticism (the constructive and sometimes the not-so-constructive kind) are I think really vital to improving at anything.

I first learned bunraku-style puppetry from a woman who was an amazing puppeteer and performer, but incredibly critical and sometimes very harsh. She pushed herself hard and expected everyone around her to do the same. If you screwed up she didn't hesitate to tell you so. Most of the time it wasn't personal, it was just that, well, you screwed up. A lot of people hated to deal with her and I'm sure there were times I did too, but the more I think back on those experiences the more grateful I am for them.

Was it always pleasant? Heck, no (oh, the stories I could tell...), but **** if they weren't some of the best shows I've ever gotten to do. I guess sometimes you need a nudge, sometimes you need a push and sometimes you're going to get a violent shove...but you don't go anywhere standing still.

Has anybody else had similar experiences?

I think it was Scraps who mentioned the 10,000 hour rule and that's so true too. Malcolm Gladwell has a fantastic new book called Outlier that's in part about his belief that talent is not innate. One of his examples is the Beatles; he points out that they used to play these insanely long live sets in Germany for up to 8 hours. Nobody knew who they were, they just took the gigs to play and make money. But by the time they "invaded" America and became famous they had played together more than most established bands play together in their entire lives! You seem the same thing with the Muppets, doing "Sam and Friends" and commercials for years before Sesame Street.

At the risk of bragging about my not-so-little-anymore brother, he formed a band with his friends when they were 12. Those same guys have been playing together for over 11 years now. He's 23 and they've just been signed to record deal with a major label here in Canada. They're self-taught. They started as kids, with no money, no connections and very limited musical knowledge. They weren't good at all, but they just wanted to have a rock band and kept writing and recording music until now they're on the verge of realizing their dream. I find that unbelievably cool and very inspirational to watch happen.

The way they've done it is to write and record music non-stop. It's not all they do, but it's the biggest thing in their lives. They are not afraid to throw away work they love or stop playing songs their small fan base loves because they don't want to get stale and stop pushing themselves. And they've done this for 11 years. Before even recording an album. I think that's very hard to do, but it's very necessary.

You know, if they can realize their dream starting out like they did, then any of us here can do anything.

What is that line from Batman Begins? The training is nothing, the will is everything...