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To Introduce Our Guest Star - Episode Thirteen: Martin Robinson · Muppet Fan Podcasts with ToughPigs.com

• 0:11
  Hello, my name is Johannes and I'm Jared Faircloth and welcome
• 0:16
  to, to introduce our guest star. A muppet fan podcast presented
• 0:19
  by tough pics.com in this show. Jared and I are taking it in
• 0:23
  turns to surprise each other with this week's guest.
• 0:26
  And hey, this week is my turn Jared, you have no Idea who Our
• 0:30
  Guest is that accurate, it's accurate and it's funny.
• 0:33
  You said this last episode and I had forgotten how nerve-racking
• 0:37
  it can be. Yeah, because I have no idea
• 0:39
  because it could the whole thing about the show is could be
• 0:41
  literally anyone who's ever, even remotely worked with a
• 0:43
  muppet, you could have Robert De Niro coming on?
• 0:45
  I don't know. That's right.
• 0:47
  Yeah, could be, could be anyone could even be someone who never
• 0:50
  worked with the Muppets? Could that be?
• 0:52
  Who this next mystery guest is I do.
• 0:56
  It's gonna make it very difficult for me to guess.
• 0:58
  Yeah, the correct. But no, it's on Has worked
• 1:00
  somehow with the Muppets. I'll give you that clue.
• 1:02
  I gotta go excellent. Alright, when you're ready,
• 1:05
  let's go with some questions. Okay.
• 1:09
  Moppet sesame or Henson Sesame? Okay, is this person a
• 1:16
  performer? Yes.
• 1:19
  Is it a human performer as in as in as an actor and not like I
• 1:24
  say like, you know, right or might it look like a dog, the
• 1:27
  puppet he's which would be, this is a human.
• 1:29
  But is not a human performer. I think I know what you mean.
• 1:32
  Okay. Okay.
• 1:37
  Here's one. Have I met this person?
• 1:39
  I don't know if you have, we've never spoken about it but it's
• 1:44
  entirely possible that you have, okay?
• 1:47
  All right, that eliminates a couple of people that I had in
• 1:50
  mind. Okay, has this person done
• 1:57
  significant work outside of Sesame Street?
• 2:02
  Yes, but I don't know how you're defining Sesame Street.
• 2:04
  Okay, so I'm talking for example, like you know, in my
• 2:07
  mind it's like Stephanie to bruise.
• 2:09
  Oh, who had done Avenue Q? This person has done significant
• 2:13
  things outside Sesame. I mean, I think they all have.
• 2:15
  So it's really, it's a hard. It's a hard, it's a hard
• 2:17
  question. Yeah, but but okay, I mean is
• 2:21
  it's a yes, from the yes? Okay, yeah.
• 2:24
  All right while I mean that's pretty good.
• 2:27
  Let me let me go with that. Then Joe is this definite
• 2:30
  Abruzzo? Jared, Our Guest today is the
• 2:34
  longest-running Puppeteer in Sesame Street's history.
• 2:38
  He's the talent behind below and inside some, of your favorite
• 2:42
  characters, like Telly monster slimy, the worm Monte, God, and
• 2:45
  mr. Snuffleupagus.
• 2:47
  He also supports one of the most epic heads of hair in the Muppet
• 2:50
  World Jared. I am extremely yes, to introduce
• 2:52
  our guest star. Martin P Robinson.
• 2:56
  Oh my good timing. That is, oh my goodness.
• 3:02
  Dude, that was that was very quick.
• 3:05
  That's all. We were meeting Mom.
• 3:06
  Nick. Well, yeah, like we were already
• 3:11
  recording the intro. So here you said the way this
• 3:12
  concept, the concept of the show Works models.
• 3:14
  That I had no idea you were coming into, literally.
• 3:17
  Usually, like, we've got a five minutes to prepare.
• 3:19
  No, no. Joe said your name and here you
• 3:21
  are. Well that's, it's just
• 3:23
  accidental. Oh yeah, I was down here a while
• 3:26
  back and and then I went upstairs and put on some real
• 3:30
  clothes and just turned it on. I just noticed that the thing
• 3:33
  was off and I turned it back out and there you guys are.
• 3:36
  Anyway, so high? Yeah.
• 3:38
  Hi. How are you good?
• 3:41
  This is, this is, this is a big moment for me.
• 3:43
  I'm a. I mean, you like, royalty in the
• 3:46
  Muppet world. You know, all you gotta do is
• 3:49
  stick around for a while and not be a jerk and not die and poof
• 3:57
  poof you're you know, you're the old man.
• 3:59
  Are you doing? Well, I mean you you haven't
• 4:01
  just stuck around you still doubt you've been sticking
• 4:03
  around for over 40. Years now which is incredible.
• 4:07
  I believe you are the longest running Sesame street,
• 4:09
  performer, aside from the humans, of course but but of the
• 4:13
  puppeteers I think you're the longest-running.
• 4:14
  Sesame performer of anyone? This is.
• 4:17
  Yeah, congratulations. Thank you.
• 4:20
  Thank you. Alan Cumming was on the show.
• 4:23
  Geez, I guess it was a year ago or so a couple years ago anyway
• 4:27
  and he we are all, they're all doing puppets.
• 4:30
  And he say well so this is you know who's the who's the old man
• 4:32
  of the group? Who's been here longest?
• 4:34
  We looked Round. I said, God, it's me and I
• 4:38
  hadn't really realized until that moment.
• 4:43
  Yeah. Well mean well maybe what a
• 4:45
  career you've had and continue to have.
• 4:47
  I mean I mean your Snuffleupagus and that breaks my brain because
• 4:52
  I've got like a weird. I've got always the weird fear
• 4:54
  of Snuffy you have. I have nightmares of like Snuffy
• 4:58
  like running down the road towards me.
• 4:59
  I actually I actually wrote a letter a couple of days ago to
• 5:03
  to a grown-up man who was a kid on the show and I was asked if
• 5:08
  he was going to work with Snuffy and Snuffy came onto the set and
• 5:12
  he He immediately started screaming and crying and we
• 5:15
  couldn't do the scene. The next thirty-five years
• 5:23
  worrying about that he hurt, Snuffy's feelings, and he's
• 5:27
  learning to confront his fears now.
• 5:29
  So stuffy wrote him a letter saying, hey, you know, being
• 5:32
  afraid of a 8 foot tall 15 foot long giant hairy Snuffleupagus
• 5:39
  is probably the smart thing to do.
• 5:43
  Yeah. Yeah, we have Leslie Carrara on
• 5:45
  as a guest in our previous season and she and I told a
• 5:49
  quick story about a time where we were backstage at Sesame
• 5:51
  Street and they were you guys were about to do with Snuffy
• 5:54
  scene and we all had to like, clear out.
• 5:56
  This is like, you know, back by Craft Services.
• 5:59
  We need to clear out to make room for you guys and Snuffy was
• 6:03
  like, literally, like running is like that scene in get out.
• 6:05
  We're like running directly at us and then making a quick like
• 6:09
  sharp turn, which was it was in Credible moment that I will
• 6:13
  never ever forget for my entire life.
• 6:14
  I do that desert purpose people think.
• 6:20
  And, you know, when I haven't got a camera on me, you know, as
• 6:23
  a monitor inside. So, I'm looking at the Monitor
• 6:26
  and when the cameras on, I see what the camera sees, you know,
• 6:28
  like, you're like, oh, like, Alma B do.
• 6:30
  But when I'm off camera, people think that I'm just, just
• 6:34
  thrashing around blindly like a, like, a bull in a china shop.
• 6:40
  In fact of the matter is, I can see Pretty well, but people do
• 6:44
  and, but I count on people not knowing that and assuming ideal.
• 6:49
  So they're not, you know, I'll run full speed straight for your
• 6:54
  off at the last possible second. And, you know, and I get, I get
• 6:58
  enjoyment out of that, which just a weird perverse joy out of
• 7:02
  it. Is probably a speaks very poorly
• 7:05
  of my character. No II.
• 7:07
  Love it. Well enough, fine for sure.
• 7:09
  How do you see when you're in the Snuffy pie?
• 7:12
  I'm out. Okay.
• 7:14
  Okay. Yeah, so you actually notice
• 7:17
  when I exit I've tried to stop doing this, but would I exit a
• 7:21
  seam? I wouldn't Snuffy exits very
• 7:23
  often. He'll open his mouth when he's
• 7:25
  just going off camera. You know, I kind of sell it as
• 7:30
  what's that but that's me trying not to trample on a child.
• 7:36
  Is that why? He speaks so slowly.
• 7:37
  So you can be like Bye Bird. Now it's we're going okay.
• 7:43
  Slowly so I can see, you know, I've never considered that but
• 7:46
  but you're right this flower, I talk from what I can see, it's
• 7:51
  time. Can I ask you a question about
• 7:52
  Snuffy's voice? Sure.
• 7:54
  Because is that affected in some way?
• 7:56
  Is that like they put an effect on it because it's got quite a,
• 7:59
  yes. Look at the word because like
• 8:01
  when I've seen you do it in like I think you did like Vanity Fair
• 8:05
  video or something and you'd like a cup to like sort of get
• 8:08
  that effect. I used a cup.
• 8:09
  Yes, I remember that a cups in a pinch.
• 8:15
  Paper towel paper towel. Oh, this thing.
• 8:20
  Oh, dear bird. What are we gonna do now or
• 8:24
  supposed to have a play date but I feel not fit through the door.
• 8:28
  Oh, okay. So is that what effect that
• 8:34
  would have worked was in that effect being done live?
• 8:37
  Or is that something that they do like a control room or that
• 8:40
  you talking through something? What What it is.
• 8:44
  It's a it's a it's a microphone that's that doesn't have a
• 8:48
  high-end gain. You know.
• 8:49
  Some microphones. Yep I don't understand sound but
• 8:52
  they have a they have a really sensitive gain that can get a
• 8:56
  lots of highs and lots of lows. This microphone is not one of
• 9:00
  those know what they do. Okay, what they used to do is
• 9:03
  they used to take a microphone and smack it against the wall
• 9:06
  until it was almost dead. And then put that in the end of
• 9:10
  a long, Tube like a vacuum cleaner tube.
• 9:16
  So the microphone system is actually a foot and a half,
• 9:21
  almost about a foot and a half away from my mouth and then
• 9:23
  there's some baffles in there to keep it from popping.
• 9:26
  It can be it can it can get really present.
• 9:29
  You know, when your Yap got a tube and you're speaking right
• 9:32
  into a microphone, it can be very direct so there's little
• 9:34
  baffles to to make the sound bounce around and then it's just
• 9:39
  basically acoustically altered live.
• 9:41
  There's no there's no post. Effect on it.
• 9:44
  Okay, yeah, cuz I've always wondered listening to it and
• 9:47
  anybody can do it with a paper cup.
• 9:50
  Okay, I'll give it. Well, don't tell you, I don't
• 9:52
  think anyone could do it because then you're going to be out of a
• 9:54
  job. Yeah, gonna get yourself out of
• 9:55
  a job. Could do it with a paper cup.
• 9:59
  So you took over Snuffy how long ago now?
• 10:05
  Like Jerry was doing it and then I'm blanking on the name of the
• 10:10
  person who did it between you two.
• 10:11
  Michael Earl, Michael L, that's it.
• 10:14
  Yeah, so he did it. And then, when did you take
• 10:15
  over? I took it over in 1981.
• 10:19
  Well, you Snuffy for followed that bird.
• 10:21
  Yes. Yeah I thought you were well
• 10:23
  that one of your earliest things.
• 10:26
  Yeah, that was, that was before he was mainstreamed before he
• 10:29
  was, you know, he was he wasn't imaginary he was quote, he was
• 10:34
  never imagined. This never imaginary know, it's
• 10:36
  become one of my missions in life to explain to people.
• 10:39
  He was never imaginary. He just has bad time.
• 10:42
  Okay, shut up. Yes, yes but he was no we don't
• 10:44
  have to go to that this time, the accused bird of it being a
• 10:49
  man. Imaginary.
• 10:49
  Yes. Which caused all kinds of deep
• 10:53
  emotional problems with with bird and so, so, yes.
• 10:58
  So that after shortly after the Follow, That Bird is when we
• 11:02
  mainstreamed him into the, into the regular cast, we had the
• 11:06
  whole thing where Phil Donahue discovered him.
• 11:10
  But, yeah, Follow That Bird was was rather early on before
• 11:14
  anyone had really met him yet. So, we were still Go in the back
• 11:19
  way and, you know, and when people showed up, he was going
• 11:22
  off the Communist for do something shy and he was
• 11:28
  definitely something about the movie is like, they the movie,
• 11:32
  you know, is that line where like some people still think
• 11:34
  he's imaginary. Some people think that know that
• 11:36
  he's that he's real. So the movie is able to kind of
• 11:40
  like, you know, do for both. Like you could watch it either
• 11:42
  with either Viewpoint and you still get the, you know, the
• 11:45
  same, the same story, the same enjoyment.
• 11:46
  No, we just confused. Yeah.
• 11:49
  Yeah, we went to, when they, when they mainstream Tim into
• 11:53
  into one of the regular cast, it just all the all the
• 11:57
  opportunities for relationships and scenes, and personal
• 12:05
  personal character growth. I'll just really opened up for
• 12:08
  him and me, I guess. Speaking of Snuffy being, you
• 12:13
  know, member of the regular cast, there's an episode or two
• 12:15
  and of course, I didn't look up to see when exactly.
• 12:17
  This was where Elmo is writing on Snuffy's back, and we do
• 12:22
  that. A couple is that yeah, is that
• 12:24
  like did you actually have to cut a hole in the Snuffy puppet
• 12:26
  and have Kevin in there with you?
• 12:29
  And I assume Bryant Young, or is he just like, like is it just
• 12:33
  such a good cheat that I never figured out that?
• 12:35
  No, no, no, no. Your first, your first idea Is
• 12:40
  the correct one. Although we didn't have to cut a
• 12:42
  hole Snuffy is has a separation that basically bifurcates his
• 12:47
  body when they transport him, it's horrible to watch.
• 12:52
  But they'll take him apart at the center.
• 12:55
  They take his head, they turn it around and they insert his head
• 13:00
  into his backside. But, but it, but it did, you
• 13:07
  think it would help my fear of Snuffy?
• 13:08
  It is, it is not it. No, it's probably just making it
• 13:12
  even worse. I apologize.
• 13:15
  It's terrible. But that's the way they
• 13:19
  transport him. What point was I make?
• 13:22
  Oh yeah, so there are so there is a theme that goes around
• 13:26
  there as well. We didn't open up the, the
• 13:30
  velcro seam at the top. So, so but when Kevin did that
• 13:35
  his feet had to go through the bottom, of course, you know, I'm
• 13:38
  not going to carry Kevin Clash on my back.
• 13:40
  It's It's rough enough. So his feet are actually down on
• 13:45
  the floor through another split in the bottom of the character.
• 13:48
  So as we're walking along, he's kind of going along.
• 13:52
  Well, we've done the exact same thing with the Prairie, Dawn,
• 13:55
  and Fran Brill was inside amazing.
• 13:59
  I love that also like is temporarily Snuffy.
• 14:01
  Becomes a six legged creature. Like, he's some sort of giant
• 14:06
  that you're feeling but as long as you as long as you shoot it
• 14:09
  artfully, If you shoot him from, from the 3/4 front is the best
• 14:14
  shot for that. And then if he's when he's going
• 14:17
  by, you just need to make sure that the bottom the camera is,
• 14:20
  you know, is above the, the floor level just above, but his,
• 14:24
  his, his belly is pretty low. It's it almost grapes the
• 14:29
  ground. So, you can, you can get a,
• 14:31
  almost a full shot. How is it?
• 14:35
  You got, you've got obviously you've got the biggest character
• 14:37
  on the show. You also got the smallest
• 14:39
  character on the show slimey's. Yes, it has like that such a
• 14:44
  juxtaposition. How do you sort of go about?
• 14:48
  I guess playing slimy, because there's not a lot, you can do
• 14:52
  with the puppy, can do a little bit, but a lot of it I think has
• 14:54
  to be your voice. And actually, I don't do the
• 14:58
  voice of slimy. Okay.
• 15:01
  That voice is done separately. The voice is, is kind of
• 15:07
  blinking on his name. Is it?
• 15:09
  It's a dick Maitland. Big male indicative, of course,
• 15:11
  who's one of the guys who has been there since since day one?
• 15:17
  So so he does the he does the voice.
• 15:24
  We tried using in the vocal vocal emulator on my voice.
• 15:28
  Yeah. But any bleed through from other
• 15:31
  any other microphone and it would and it would start, he
• 15:34
  would pitch it to get up there. So so we couldn't do that.
• 15:39
  So this is slimy is, you know, has this wonderful eloquence to
• 15:43
  him. He's it's all it's all in the
• 15:47
  movement and, you know, and it's a kind of a study in simplicity.
• 15:52
  So even though he says A little, it's, you know, he's always
• 15:58
  think of him as one of the more eloquent characters but you
• 16:02
  know, but you know, the moves are a little little things like
• 16:05
  this, where you lift it up and you turn it just the tiniest bit
• 16:09
  this way and tiny bit. And just so you're playing these
• 16:11
  tiny little angles and you got the little mouth thing there.
• 16:15
  So, it's so it's, you know, it's think think, think think think
• 16:18
  think think think think think, think think, think think it's
• 16:21
  just, this tiny little news and, and you're right it at
• 16:23
  juxtaposes with the with stuff. B, it's a it's, you know, it's
• 16:28
  what we do is, you know, it's it's a kind of a perfect
• 16:33
  physical example of the range of what the job can be.
• 16:39
  Yeah. And I mean, I have to assume
• 16:42
  that between your full-bodied, puppet, work with Snuffy and the
• 16:47
  intricate puppetry that you just described with slimy, as well as
• 16:51
  like all the other characters, you do Telly.
• 16:52
  And, you know, all the am's and etc, etc, is probably why you
• 16:57
  have been Was in is like the the trainer for a lot of the
• 17:00
  international Sesame stuff. Is that accurate?
• 17:05
  Yeah, you know, I hadn't really thought about, you know that,
• 17:08
  but yeah, some of the stuff do it all, you know?
• 17:12
  Well, yeah, you know it's, you know, it's puppeteers.
• 17:16
  Do I mean we you know, we were trained in a lot of areas, you
• 17:20
  gotta know, a lot about a lot of things or at least a little
• 17:26
  about a lot of things. Yes.
• 17:29
  But, but some of the international companies do have
• 17:32
  walk around characters and certainly the experience is
• 17:36
  helpful with that. You know, there there are some
• 17:40
  puppeteers who have not been in walk around characters and in
• 17:44
  that might be, you know, the experience of being inside that,
• 17:49
  that crazy massive thing. And, you know, and it doesn't
• 17:53
  matter how horrible or how heavy their puppets are.
• 17:58
  You know, I always have the right to say, you know, quit
• 18:00
  your whining. I'm in the biggest one.
• 18:01
  There is so chic. Anyone but but Caroll spinney I
• 18:09
  guess or I guess now Matt Vogel. Well I would never say that
• 18:13
  similar. Yeah.
• 18:15
  I mean they're they're they're they're both both good friends
• 18:19
  but Snuffy weighs a lot more than bird.
• 18:22
  Are you kidding? Bird needs to fluffy feathery.
• 18:25
  Thing is nothing, but it was Snuffy, you don't have to keep
• 18:29
  your arm straight up in the air like like, but that's true.
• 18:31
  That's true. I don't know.
• 18:33
  That's the hard part to me. Yeah that's yeah, that's the
• 18:36
  hard part. I got to defend, you know, you
• 18:40
  are correct of what your job is, very difficult.
• 18:44
  Let's not downplay my job. Okay.
• 18:47
  I actually had to play bird this past season.
• 18:52
  Oh, really? Yeah, a guest star who will go
• 18:56
  unnamed, and who is who is has a little black mark against her
• 19:00
  name cancelled hours before she was supposed to be there?
• 19:06
  Or almost almost talk show, get a hold of that.
• 19:10
  And, and it was it was a, it was a shot that was they were, they
• 19:16
  were doing a task like this. They had to be shot all the way
• 19:25
  to the floor. So we couldn't do it with a
• 19:28
  puppet. It had to be a person in a kid
• 19:32
  and, and So there was nothing to be done, so they decided to put
• 19:37
  burden it Matt wasn't there. And so so I got to put on birdie
• 19:43
  and go through this, go through amazed and then go under a limbo
• 19:49
  stick after loading a tray with an entire service of food and
• 19:57
  drinks and then and then serve it.
• 20:00
  Then pop it down and serve it with with Almost no experience
• 20:06
  in the bird. Anyway, it was it was very
• 20:08
  wanting and grateful. You have to do the whole thing
• 20:11
  while looking in a monitor where the ball is going to monitor
• 20:14
  some far down, it just your average workday.
• 20:20
  Yeah. Which, you know, which is one of
• 20:21
  the great things about working for Sesame in The Muppets is,
• 20:25
  it's always something new. I mean, I've been asked, do you
• 20:28
  know, you know, you've been there, 40 plus years doesn't get
• 20:31
  dull know, it's always something new.
• 20:35
  And, you know, solving new problems in different ways and
• 20:39
  and finding finding interesting solutions to stuff.
• 20:44
  It's, you know, and then they are all the other character in
• 20:48
  the relations and we're adding a bunch of new characters this
• 20:51
  season. It's always, you're always kind
• 20:55
  of, by the seat of your pants to a certain extent, and that's
• 20:59
  great. I mean, I love the fact that
• 21:01
  Sesame Street especially, but like all these franchises Sesame
• 21:04
  and It's another Hanson fraction.
• 21:06
  Franchises. None of them are resting on
• 21:08
  their Laurels. Now then we're just kind of
• 21:09
  doing the same thing. We've always done, we got to
• 21:11
  keep experimenting and we got to keep, you know, Taking Chances
• 21:15
  and doing more things, new things, whatever it is because
• 21:19
  you know what's the point if we're not going to continue to
• 21:20
  evolve, right? And that's one of the, that's
• 21:23
  one of the great things about about working for this company
• 21:25
  is, is that they they've never gotten complacent, they're
• 21:29
  always trying to be better. They're always taking the
• 21:32
  up-to-date information on kids. Education.
• 21:35
  The world. How kids learn?
• 21:37
  What they learn. What's safe.
• 21:39
  What's not safe? And and putting it to use.
• 21:43
  We, we just we just wrapped on on help stirs the second season.
• 21:47
  Did you know that, Joe, Yes I did.
• 21:50
  Yeah we rattles that was aware right last Friday so I've been
• 21:54
  I've been shooting that since since August is beginning of
• 21:58
  August, let's look how does help serves differ from Sesame Street
• 22:03
  because I know it's a lot of the same people because it's a
• 22:05
  Sesame Workshop production. You're working closely with, you
• 22:08
  know, some of the performers like Stephanie to bruise.
• 22:10
  Oh, but there's got to be some big differences for those two.
• 22:15
  Big differences or not, maybe they're exactly the same,
• 22:19
  they're not exactly the same. No, no, they're not at all.
• 22:23
  We do have, you know, it's a co-production between Sesame and
• 22:26
  Apple. So we've got Apple input that we
• 22:31
  wouldn't have normally, I mean on Sesame Street, which makes
• 22:35
  for an interesting dynamic. They and, you know, and because
• 22:41
  it's a cut-down, you know, you can't have too many people on
• 22:44
  the The set at any given time. It's you know it's a lot of that
• 22:50
  is remote. So you know, getting things
• 22:53
  okayed checking things out, we try to, you know, we work when
• 22:59
  we plan on the fly to a certain extent, there's you know if
• 23:03
  there's something that is sitting right?
• 23:05
  Or if we have an idea because they do will, you know, can I
• 23:08
  pitch this? That's the that's the phrase
• 23:10
  that we use on that show is, you know.
• 23:11
  Let me know. I'm pitching an idea.
• 23:13
  Ding, ding ding. And we try to Again secure that
• 23:15
  ahead of time but sometimes it's sometimes it just happens at the
• 23:19
  spur of the moment and you need need things to be okayed.
• 23:25
  So that the this that the chain of information is what I'm
• 23:29
  referring to is is sometimes a little, a little rough with that
• 23:32
  show getting getting the information fast enough that
• 23:38
  being said, if we don't get the information, we just go ahead
• 23:40
  and do what we think is, right? And the cast.
• 23:44
  The crew is just stunning is just wonderful, you know, and
• 23:50
  not, not not compare comparing it to Sesame in any way or
• 23:54
  saying one is better than the other.
• 23:56
  What I will say is this, the scripts on hipsters are just
• 24:00
  just incredible. They're just so much fun.
• 24:04
  And even though ostensibly it's about computer coding, which
• 24:08
  just sounds like the most deadly dull thing possible on the
• 24:11
  planet. It's a, you know, they, they
• 24:13
  managed to Make it interesting, you know, doing things in
• 24:16
  sequence, and looping, things, and doing things in order or out
• 24:20
  of order and the cast is just is just so cool.
• 24:27
  It's very close-knit. It was, it was there's a lot of
• 24:29
  Tears in the last day. Well, well, here's hoping to get
• 24:33
  a third season because it's a fun show.
• 24:35
  I think, you know, if people out there have Apple TV they should
• 24:38
  check it out. You never know when we were we
• 24:41
  were just delighted that we had this second season and I mean
• 24:49
  you know call me naive but at the but it sounds like if you
• 24:52
  know, if you've got a show that's really cooking long and
• 24:56
  doing something useful and I assume people are watching it.
• 25:01
  That's not my job that you know that you can continue doing it
• 25:06
  but you know I'll still live in the real world and and sometimes
• 25:10
  they do and sometimes they don't II get that.
• 25:14
  I understand that too. Well unfortunately well to get
• 25:19
  back to Sesame. First thing I do think we have
• 25:20
  to talk about Telly. Who is just one of my all-time
• 25:23
  favorite Muppets of any Muppet franchise?
• 25:25
  I adore Telly, I love his his neuroses and You know, his I
• 25:33
  don't know. I do his genocide qua.
• 25:35
  I guess with Telly not appearing as much as he used to like, is
• 25:41
  this like a part of you that feels like it's it's missing
• 25:44
  that you don't get to play with Telly on the street every day.
• 25:46
  Yeah yeah. I mean that mr.
• 25:49
  The answer is yes. I miss him.
• 25:51
  The the other the again kind of living in the real world.
• 25:56
  It's you know, characters come and characters, go and and
• 26:00
  things that Were things that were teaching and how we teach
• 26:04
  it and which characters are best to teach those things changes,
• 26:08
  you know, I'm not gonna I'm not gonna I'm not gonna beat myself
• 26:11
  up dream of trying to keep a wave on the shore.
• 26:15
  It's just you know the things things change.
• 26:18
  And I've had some some dear friends, I mean, one of my great
• 26:23
  mentors Johnstone who I learned so much from it was absolutely
• 26:29
  key to My existence as a performer, he wanted Sesame
• 26:37
  Street to stay this the way it was and, and was sad and bitter
• 26:44
  toward the end of his life. That it was not something he
• 26:46
  could be proud of, and I have made a conscious choice, not to,
• 26:52
  not to do that, you know, not to make Athens is the Johnstone
• 26:55
  made environments, so many ways, but he was not happy toward the
• 27:00
  end of his life. And And it had to do with you
• 27:06
  know with not being able to deal with the with the changes.
• 27:11
  You know. I'm a part of the show, I'm a
• 27:13
  part of the changes if if I'm in more of a supervisory capacity
• 27:20
  these days great. You know, I don't want to
• 27:24
  certainly don't want to live my usefulness or you know, be a
• 27:28
  fifth wheel that being said, you know, I still Have lots of fun
• 27:34
  and and and figure someone useful on the show.
• 27:41
  But Telly monster was, was my great savior, my great personal
• 27:46
  Savior. And I would think that anything
• 27:49
  that's that, that's that important to me.
• 27:51
  And that that's personal savior to me, is somewhat Universal.
• 27:55
  I mean, I, That's the kind of the way we do it.
• 27:58
  You make something intensely personal and then you find out
• 28:02
  that everything that resonates with many other people.
• 28:06
  When you've invested that much of your, you know, your
• 28:11
  particular, you know, in my case neuroses into it and you know
• 28:16
  that much of my caring and love and all that stuff.
• 28:20
  So so yeah, I know he was, I used to say that he was, he was
• 28:25
  my As long as I had tell you, I would never need serious.
• 28:30
  You know? Deep psychoanalysis because he
• 28:33
  was my secret valve, and I get it in different ways.
• 28:36
  Now, I've been getting it getting with mr.
• 28:38
  Prim, on house del Sur is he is in some ways as far out as
• 28:47
  telling him. You think I let the sad part
• 28:51
  about that, I that I Thing and think about Telly was seen to be
• 29:01
  angry and frustrated and the kids, the studies indicated that
• 29:09
  they thought that Telly was angry at things.
• 29:12
  And, you know, and that was never an intention with him.
• 29:16
  You know, that he he was, he was, you know, concerned and he
• 29:20
  was, you know, he was worried about things and I, you know, my
• 29:24
  favorite reaction was when Kids would say, okay no, chill tell
• 29:27
  you, don't worry, it'll be okay, which all what's lessened?
• 29:31
  Their fears and put their fears, perhaps in perspective, that
• 29:35
  was, that was one of the great uses of.
• 29:38
  Well, that is why I've always had like so much of her love and
• 29:41
  respect the Telly because I, you know, I'm someone who has has
• 29:46
  had some anxiety issues in my past.
• 29:49
  It was always nice to have, like, tele around because tally
• 29:53
  was sort of that. That what's the word?
• 29:59
  He was the representation of it, I guess.
• 30:01
  And I think you know, in such a, you know, in a world where were
• 30:04
  trying to talk about mental health.
• 30:06
  And I'm not saying, you know, Telly had mental health issues,
• 30:10
  but I'm just saying that anxiety and stuff like that.
• 30:12
  I think it's something important that hopefully might get
• 30:16
  reintroduced. Whether that means telling needs
• 30:18
  to change in some way shape or form.
• 30:22
  I'm hoping, I mean, for your sake, for everyone's sake, we
• 30:25
  get more tally. Yeah.
• 30:27
  And you know, from your mouth to God's ear or your from your
• 30:29
  mouth to the producers here. But yeah.
• 30:33
  And and I and and I do think thank you for saying that he.
• 30:38
  I do think he was provided a service.
• 30:42
  You know, in that direction Sesame is going in some in some
• 30:45
  different directions, we're going into, you know, deeply
• 30:48
  into, you know, some you know, some social, emotional stuff,
• 30:51
  and racial Justice things. And, you know, we have We have
• 30:59
  some very important new directions.
• 31:03
  We're going in as opposed to tell ease anxiety, while I'm
• 31:08
  excited to stable and Yeah. Yeah, we're excited to be
• 31:14
  putting it together. We've had some new casting
• 31:17
  sessions and probably not too, too much.
• 31:21
  I could probably talk about, although I haven't signed any
• 31:25
  non-disclosure non-disclosure agreements, but to be basically
• 31:29
  circumspect, we're yeah, we're we've had a lot of auditions.
• 31:33
  We're bringing some new people in.
• 31:36
  There's some, some staff changing, but Looks like we're
• 31:43
  going to really hit the ground running and season season 53
• 31:47
  coming up. Well, actually, they're shooting
• 31:48
  writable, they're shooting. They shot monster Foodies this
• 31:53
  past week and a new new Elmo's World for goodness sakes.
• 31:56
  So so we're already into season 53.
• 32:01
  Wow. Incredible that this this shows
• 32:04
  going to go on forever. Well, I went, it's like, oh now
• 32:07
  you're wrecked it you had to say that but I gonna do sit, who
• 32:12
  knows? Who knows?
• 32:13
  I mean, I started I started season 12 and they were just
• 32:16
  astounded that, you know, that it had lasted that long and then
• 32:21
  ever, okay, you got picked up for another season.
• 32:23
  Isn't that cool? And it's I always think of the
• 32:27
  the 20th anniversary special. There's a moment where Bob and
• 32:31
  read along and Russ Gorman. Mmm, Who else Sonia probably
• 32:35
  probably. They're all like sitting at
• 32:36
  Hooper's store and they're just kind of like, you know,
• 32:38
  reminiscing a little bit. They went kind of wow, 20 years.
• 32:41
  Well, I think we'll make it to 20 more years, whatever it was.
• 32:44
  It's just like, now we look back were like, yeah.
• 32:46
  Obviously obviously it had 20 more and then 10 more on top of
• 32:50
  that and probably, you know, on and on and on like what a
• 32:54
  phenomenon, you know, like, like me, I know it was a phenomenon,
• 32:57
  you know, on the second third season as well as the 10th and
• 33:00
  20th season. But like now, it's Almost too
• 33:03
  big to fail. And it's and it's an interesting
• 33:08
  interesting thought because we we got pretty close a number of
• 33:13
  years back. What was that?
• 33:14
  Maybe 10 years ago, 10 10, 12 years ago, things were, you
• 33:20
  know, it was weird again. I don't, I haven't signed a
• 33:25
  nondisclosure agreement, but the, the amount of money that it
• 33:30
  was bringing in as opposed to the amount of money, it would
• 33:33
  cost to production. Yeah.
• 33:35
  He's just way out of balance and we were just hemorrhaging money
• 33:42
  for a good cause I'm going to, you know, a great cause but it
• 33:47
  was not financially viable in a sustainable way.
• 33:57
  When they, when they made the deal with HP people that really
• 34:02
  kind of finally took away. Those those financial fears, you
• 34:10
  know, and we find find a nice creative home and a physical
• 34:17
  home. I guess you'd say that was an
• 34:18
  argument, but we were having black.
• 34:20
  I remember when we reported that news, that was an argument.
• 34:22
  We were having with the fans and that that was saying, well, you
• 34:25
  know, Sesame Street has lost. You know, what it was doing it.
• 34:28
  It's like, no, no. You need to understand if Sesame
• 34:31
  Street, doesn't do the take vo deal.
• 34:33
  There's no more Sesame Street. And people didn't seem to sort
• 34:36
  of understand that for a couple of years, now it seems to be
• 34:39
  something people can sort of, you know, make peace with.
• 34:43
  But yeah for a long time that was a real genuine like fight in
• 34:48
  the comment sections. Yeah.
• 34:50
  Yeah. People people saw it as, you
• 34:52
  know, as a selling out to to pay TV and you know this this whole,
• 34:59
  you know, free public television show which should be available
• 35:03
  in free to everyone. You know that now it was that
• 35:06
  was a that was a that was a subscription item but the yeah
• 35:14
  but and you're right, you know, the now that the world has lived
• 35:16
  with that for we're into our fifth fifth year conference.
• 35:22
  What seven, eight years now it's, you know, it's it assures
• 35:29
  us moving forward into the future.
• 35:32
  PBS gets it for free now. Nine months later.
• 35:36
  So, you know, and it's still very topical and and in PBS
• 35:43
  doesn't have to kick into the, you know, into the production
• 35:48
  anymore. And yeah, it was It was kind of
• 35:52
  the the jewel in PBS's, Crown. You could say for many many
• 35:56
  years but you know, I think it's a good Equitable plan.
• 36:01
  I mean PBS was not bankrolling. See Sesame Street by any stretch
• 36:06
  of the imagination, what happened?
• 36:09
  All that money, we donated to get those tote bags.
• 36:12
  That didn't that didn't fully funds us?
• 36:13
  No, no, you needed to buy more more coat, but don't bags.
• 36:17
  Joe had known that I would have bought more, tickle me.
• 36:20
  Yes, almost back in 1995, that helps, but production is
• 36:32
  absolutely hey. I'm not a money guy, I have no
• 36:36
  idea what the what it costs, but man, you know, when that studio
• 36:41
  is up and running all the, you know, the hundreds of people
• 36:45
  that are involved focusing, you know, on that show on that
• 36:48
  moment. And all the people who have done
• 36:50
  all the work and are doing their work, behind the scenes and in
• 36:55
  an offices and remotely, it's, it's just astounding.
• 36:59
  How, you know, how much creativity has to get focused?
• 37:04
  You know? Down to five four, three, two,
• 37:06
  one go. You know, do your thing?
• 37:10
  Yeah, yeah, which is, which is, which is a great responsibility
• 37:14
  and, you know, it's, you know, it's a heck of a kick out of it.
• 37:21
  Five, four, three, two, one. And they Point your finger and
• 37:24
  in all that all, that's right on you and make it a break-in at
• 37:29
  that moment. It's a, there's nothing like it.
• 37:32
  You've got a, I guess another little Action in that.
• 37:36
  You got married on Sesame Street.
• 37:39
  We did I did. Yeah, yeah, yeah.
• 37:43
  There's a couple of photos on The Muppet.
• 37:44
  Wiki if people want to have a look, but tell me, are you,
• 37:48
  you're those photos on The Muppet?
• 37:51
  Wiki your reflection in your glasses?
• 37:53
  I can hear one of Oscar heckling As your wife and you were on the
• 38:02
  on the stoop and then there's another one of the reception,
• 38:04
  right? And it's just like I want to get
• 38:06
  married on Sesame Street, that sounds so much fun.
• 38:11
  It was, it was it was one of those things where we trying to
• 38:14
  figure out where to do it. And what was, what was the
• 38:17
  central centrally located to our friends and family.
• 38:21
  So we had the idea and they say, well, you know, you'd have to
• 38:25
  you'd have to do this. Okay, well, so we do that then
• 38:28
  what do we do? Well you'd have to, you know, to
• 38:30
  get the lights on and to get the doors open again, I got a
• 38:32
  higher, the Union's. Well.
• 38:33
  Okay. What do they cost?
• 38:35
  Okay. Great.
• 38:37
  And it's every every obstacle that they put in in our way or
• 38:41
  Ang we just kind of said okay you know we can do that, we can
• 38:43
  do that, we can do that and we did it.
• 38:46
  And then finally, you know, the last person, you know who could
• 38:49
  say, no didn't say no. And we just do said great.
• 38:51
  So we did. And you're probably the only
• 38:56
  person the only couple that ever got to do something like that on
• 39:00
  Sesame Street said. Yeah.
• 39:01
  I think like, even in the old days, anyone, as far as I know,
• 39:05
  got merits as well. Well, Maria and Luis got married
• 39:09
  sir. But that was not me.
• 39:11
  What it wasn't? I know an Oscar and grungy do
• 39:16
  almost got married ancestral. Do with that wasn't really your,
• 39:20
  you've ruining Sesame Street for me.
• 39:24
  Did you did Caroll spinney? We asked him to officiate the
• 39:28
  ceremony and he was actually going to get be ordained.
• 39:31
  Oh wow. Wow.
• 39:32
  Got to get one of those online things.
• 39:37
  That was so huge Sookie. He offered to actually perform
• 39:41
  the service and said, no, no we we do have a minister who's but
• 39:46
  instead hey. Hey Clint I'll Oscar, he Heckle.
• 39:49
  Yes, yes. Yes, why?
• 39:51
  I mean that's the real dream was to be heckled at your own
• 39:53
  wedding. We're asking the Grouch.
• 39:54
  Yeah. Why buy the milk when you can
• 39:58
  come buy the cow when you can get the milk for free, no Mom
• 40:03
  and Dad. So your wife Annie on Sesame
• 40:26
  Street. So like a time where the two of
• 40:30
  you have kind of clashed over something.
• 40:32
  Creative for the show clashed? No, no, good.
• 40:38
  Great there was, there was a time when I came when I got a
• 40:41
  script that she had written, I came home and I gave her one of
• 40:43
  these it was giving us the, the eyebrow.
• 40:48
  Look for those who can't see your face the side either, but
• 40:52
  she Dunno. She had written a really nice
• 40:54
  script that that featured Snuffy and Telly and slimy all the
• 40:58
  same. See, not what you want.
• 41:01
  Well, she's trying to give you work.
• 41:03
  Yes, I do. My favourites.
• 41:06
  Yeah, nepotism at its finest. So we had Yeah, it's like okay
• 41:11
  figure this one out husband does she know?
• 41:14
  That's not triple, the pay cheque for you.
• 41:16
  You just need to know. No, it's not you just, you just
• 41:20
  know, it doesn't matter. You know, I can go in and do no
• 41:25
  characters or do 20 characters, God, Ryan, Dylan, and I think, I
• 41:29
  think we broke the record. We were doing it was for almost
• 41:33
  talk show and we were in the studio today, over the over the,
• 41:37
  the Sesame corporate Isis on the green screen and I think we each
• 41:43
  worked more than 50 puppets in one.
• 41:46
  Now there were cases in cases in cases of puppets and it was for
• 41:52
  his for the audience, the audience for almost auction.
• 41:55
  It was an all those characters in the audience, that's all Ryan
• 41:59
  and me, I was there that day, you're there.
• 42:03
  That remember you guys, I was and I remember you guys were
• 42:07
  picking up like a chicken or whatever it was and then Don't
• 42:10
  know why you had to go on for so long with every one of those
• 42:13
  characters, like okay, we need them laughing.
• 42:15
  And then it's literally just five minutes straight of this
• 42:18
  one chicken lat, we're going to pull literally three seconds on
• 42:20
  it but we need five full minutes of it.
• 42:22
  And then to do that 50 times in a row.
• 42:25
  It was yeah it was a heck of a day but again that's the job.
• 42:29
  Yeah. Who knows for sure what the fun
• 42:32
  and like how I like how hard to like?
• 42:34
  I mean what a challenge to make it interesting every single time
• 42:37
  and Michelle, hickey and Lara McLean had to carry.
• 42:39
  And In case after case after case of cats and dogs and
• 42:44
  vegetables birds and all this stuff incredible.
• 42:50
  Yeah, I remember a putting on an onion.
• 42:51
  Okay, what's it? What does an onion sound like
• 42:55
  what what's the character onion? And but you know, but you don't
• 42:57
  have time to think you just gotta go, which is, which is
• 42:59
  part of what does an onion sound like what does onion sedima?
• 43:03
  That's everyone's homework for the night is figure out.
• 43:06
  If you are an onion what you sound like.
• 43:08
  Yeah. And then and then and then laugh
• 43:10
  as an onion for 5 minutes and then you'll look a quizzical
• 43:13
  then look right and look and dou double to anyway just yeah.
• 43:17
  Have you got any puppetry like horror stories like things that
• 43:22
  you've done, where you just like you've been in a really awkward
• 43:25
  position or like, we were talking to Alex Denis last week
• 43:28
  and she was saying that, you know, they asked her to property
• 43:33
  next to a live elephant and she was like, I'm not doing that.
• 43:37
  She said, no to a life that no to that.
• 43:39
  Yeah. She was gonna be like on the
• 43:42
  ground like a bee on the ground without anesthetic at its foot
• 43:45
  and he's like I'm not doing that.
• 43:48
  Yeah. You mean you'd have to really
• 43:50
  know the elephant and Trust the trainer.
• 43:55
  Do we have time to make friends with the elephant before I get
• 43:57
  on the ground? Oh God.
• 43:59
  Yeah, we did a we did a bit with just not answer your question
• 44:04
  yet. I need Abruzzo, we had an owl on
• 44:09
  help stirs a live owl and that end.
• 44:14
  She, she has every character has little little pigtails to go out
• 44:20
  that there are part of her way, she expressed herself, and she
• 44:24
  triggered those pigtails and it Spooks the owl on that all
• 44:28
  jumped on her. There's there's an outtake
• 44:33
  full-grown. Great horned owl leaping Cody
• 44:39
  and there will fall below down. Nobody got hurt which is but I
• 44:43
  love lip. But I mean I'm also almost more
• 44:46
  worried for for the Cody puppet because I know those things get
• 44:50
  damaged. Like you rip that puppet?
• 44:51
  Like that's it for a while. Yeah.
• 44:54
  There's a couple of Coatings. There's only one codigo that she
• 44:56
  likes it, right? Yeah.
• 44:59
  Nobody was hurt. Yeah, animals they're there.
• 45:02
  They can be problematic but w a horror story that I've been.
• 45:06
  In through. Geez, I don't embrace my horror
• 45:13
  stories, like some people watch them and forget them.
• 45:21
  My cat yourself, lucky. I can, I cut myself lucky every
• 45:26
  day, you know? I just, I have no no license to
• 45:31
  complain. But of course, you know,
• 45:33
  sometimes I still did when I, you know, I hear horror stories
• 45:39
  of like some of the my puppeteers in other countries.
• 45:44
  What they, you know, what, they go through to go to work and do
• 45:48
  their jobs. That's those are those aren't my
• 45:51
  stories but man, do I empathize with them?
• 45:56
  There was one of my puppeteers in the United Arab Emirates.
• 45:59
  His parents found out that he was going to that, he was hired
• 46:02
  on a puppet show and they tied him up to a chair in his room
• 46:07
  and beat him and shaved his head so that no one would want to see
• 46:10
  him and he escaped out a win. Endo packed his bags hiked
• 46:16
  through the desert and caught a caught a truck to the airport
• 46:21
  and and, you know, showed up a few days late.
• 46:24
  But let us know that he was, he was coming, but, and then could
• 46:27
  never go home and it's in a while.
• 46:30
  Would he would? He would say stop on his way to
• 46:33
  work. And there was a construction
• 46:34
  site and go out and take my picture because he was a
• 46:36
  constraint as a construction engineer, and take my picture
• 46:39
  next to this construction crew. And he would, and he would send
• 46:42
  that to his parents saying, you know, I'm Doing fine but wow,
• 46:47
  really takes away your license to complain and my puppeteers in
• 46:54
  in Kabul in Afghanistan. The to the two ladies who were
• 46:58
  the leads, they couldn't go to work the same route every day.
• 47:03
  Somebody for fear that somebody might suss out their patterns.
• 47:08
  They couldn't be seen going into the studio and known for, you
• 47:12
  know, television production. They had to change their route
• 47:16
  all the time for fear of fear of death and they showed up to work
• 47:25
  every day and then and there was a bomb that went off around the
• 47:30
  block and I think two or three of the production people were
• 47:32
  killed and they did the show. Anyway, those are the stories
• 47:38
  that I, you know, that I know that you here.
• 47:44
  Like sitting next to an elephant that died at the park, doesn't
• 47:47
  it? Well, it's, you know, it's a
• 47:52
  Everyone everyone, you know does what this what they did if they
• 47:55
  can and puts up with what? They can the things, you know,
• 48:00
  all the things that I've had to put up with that.
• 48:02
  I, you know that I that at the time seemed really bad.
• 48:06
  Like we do a lot of color. A lot of location work on
• 48:10
  hipsters and started in August. It was blistering hot.
• 48:13
  Sometimes you're in the blistering heat and there's no
• 48:16
  shade and you just you know, you're slathering yourself with
• 48:18
  sunscreen and you're just Threat to your underpants.
• 48:24
  And then, you know, we were worked up until like I say it
• 48:26
  till last week in the freezing cold, you know, Ten Degrees and
• 48:31
  you got you got thermals on and you got booth in.
• 48:34
  You were just just trying to stay warm, you know, and and
• 48:37
  that's seems like a hardship but it's nothing, you know, compared
• 48:41
  to what, you know, the fear of being blown up or, or beaten or
• 48:49
  ostracized or Some of the things that happen in some of the other
• 48:56
  countries. So, yeah.
• 49:00
  So I like those things are perspective.
• 49:01
  Yeah, it really does. Yeah.
• 49:05
  Well I'm not a slightly later notes.
• 49:08
  I do want to ask you the same way.
• 49:21
  I'm just going to change the Entirely and hope that it's fun
• 49:24
  one. Meanwhile, over on the other
• 49:27
  side of your Muppet related filmography, unrelated to
• 49:33
  Sesame, I did want to ask you a little bit about your time on
• 49:36
  The Muppets Take Manhattan set, because it was a long time ago.
• 49:40
  That was it was a long time ago. I will say, first of all, every
• 49:44
  time I watch the movie which is often, I always make a point to
• 49:48
  pause the movie when you have your on-screen cameo.
• 49:52
  During the the theater at the school.
• 49:56
  Yeah. Near the beginning of the movie,
• 49:59
  you are watching permit others for my television format.
• 50:02
  It does it gets cut off and what does it?
• 50:05
  Yeah, I guess could. I'm right on the edge, on the
• 50:07
  television format, but the on the wide screen, I am right on
• 50:10
  the edge. We were all in.
• 50:12
  Did you know that? Did you know that, that that
• 50:15
  shot is, like, people can like rent it or buy it for stock
• 50:20
  footage? Really feel like we've seen Seen
• 50:22
  it. Yeah, we seen it at other
• 50:23
  things. I believe they use it.
• 50:25
  Amy Sedaris. Has a like a craft comedy show.
• 50:31
  I love that, which is hysterical.
• 50:33
  I love insider'. She's amazing.
• 50:35
  And like she uses that that scene of like whatever their she
• 50:38
  needs to show her audience applauding like there's you and
• 50:40
  there's Steve making. Everyone think Amy Sedaris owes
• 50:43
  me money. Oh, let's not get good luck.
• 50:52
  I think the actors Union might have something to say about
• 50:57
  that. That's good.
• 51:00
  Actually is interesting, funny. Yeah, I think you can go on to
• 51:04
  like the Getty website and like it's one of those things you can
• 51:07
  you can buy is that and a couple other shots from that shoot of
• 51:11
  the film. Well, if it's what I think
• 51:13
  you're in as far as you're buying it, then.
• 51:16
  Yeah. If they're if it's if it's on a,
• 51:18
  if that's on the Getty and if they're buying it, then then
• 51:22
  Everyone who's in there, who? Yeah, then then, then they're
• 51:25
  paying me. I mean either way I think Amy
• 51:28
  Sedaris still should like give you like 20 bucks or I would
• 51:31
  just got ya, appreciating some like random chicks the like two
• 51:34
  cents like once every three months and you go.
• 51:36
  What's this for? That's probably what it's all a
• 51:39
  mystery. I just thought, maybe a cupcake.
• 51:43
  All right, we'll get it done. That's a good trade.
• 51:48
  She does not surprise me. Do you have any specific fun
• 52:01
  memories from the Muppets? Take Manhattan.
• 52:03
  Shoot, we were shooting on that for a long time it was, we had a
• 52:10
  silver cup. I was I was very new back then
• 52:16
  and and Yeah, that was I guess that was my first feature Follow
• 52:25
  That Bird was after that, right? You know, I always trust you to
• 52:28
  know. I'll fall.
• 52:29
  So, so Manhattan was 1984. Let me Google follow that, but
• 52:37
  it was 84 well, edit this out to make a sound sleep.
• 52:41
  I probably won't. Oh yeah, we know, we know the
• 52:43
  years for time, I followed that bird was 1985.
• 52:45
  So yeah. So Manhattan was first.
• 52:49
  Okay. Yeah, I was I was so it's brand
• 52:52
  spanking new and you know you didn't know what I didn't know.
• 52:58
  So I was right. It was it was it was a good good
• 53:01
  training thing but it got training on the feature film is
• 53:03
  tough. You know I was doing he was
• 53:07
  doing the baby Muppet scene and and I was sure.
• 53:12
  Yeah, baby piggies Biggie's goes up a slide climbing up at just a
• 53:18
  just a quick little shot. And I was doing her hands, and
• 53:20
  we did 54 takes, and it was because I was messing up in some
• 53:25
  way. I had no clue what it actually
• 53:28
  was. And, you know, I wish that, you
• 53:31
  know, with the somebody had said, you know, listen Rhymes
• 53:34
  and do it this way or this is not your shot, I'll do it.
• 53:38
  You know, do something else but they just, you know, just take
• 53:43
  after take after take till we did 54 takes and, you know, I
• 53:48
  feel bad. Bad about that.
• 53:49
  But I was just too green to know.
• 53:54
  You know, I picking hand from a from a, from a slide grip.
• 53:59
  Sure. Well and we found out recently
• 54:02
  that Jim Henson directed The the Muppet Babies scene for the
• 54:05
  movie. So that may that may explain a
• 54:07
  little bit about like, Jim may have been a little bit more
• 54:10
  patient with the puppeteers and like Frank who was directing
• 54:13
  solo directing his first film. Don't remember my my
• 54:16
  recollection is that Frank was directing this scene is so
• 54:19
  interested. Frank was the one that was
• 54:21
  saying. Again again again.
• 54:24
  I just remember his very, very sad face as we as we did it over
• 54:28
  and over and over again. But that's but, you know, you
• 54:32
  know, you know how recollection is.
• 54:33
  It's just it's it's changed and altered by time and memory.
• 54:38
  And God knows, what is there was a, there was a I always do is
• 54:45
  tell the story of they had cast. Kevin Clash to do Swedish chefs
• 54:53
  hands for the for the big final scene where there were doing the
• 54:57
  cake and the yeah. Yeah.
• 54:59
  Right the decoration on the cake and then somebody finally
• 55:03
  figured out that that wasn't going to work.
• 55:07
  Right? Yeah and so at the we're all
• 55:09
  thinking and yeah it's a very last minute once was They put me
• 55:17
  into that part and that was very enjoyable doing.
• 55:21
  Oh, I bet doing those hands. That was one of my favorite
• 55:25
  parts and I got to I got to put my hand in Bunsen Honeydew and
• 55:30
  for a for a really wide shot where he's coming into a thing.
• 55:34
  And and I got a long tutorial from Big goals but exactly what
• 55:39
  and what not to do with buzz and how to do it, but he was one of
• 55:43
  my always one of my Favorite characters.
• 55:44
  So just got a kick out of being. Is there a reason you haven't?
• 55:50
  That's cool. I'm just looking at ya.
• 55:52
  Think I'm not Wiki now and there's a couple of more things
• 55:54
  here and there like letters to Santa.
• 55:57
  Apparently I'd have to go back and listen to it but apparently
• 56:00
  you were performing dr. Teeth and they forgot to dub it.
• 56:04
  So apparently there's a line of yours as dr.
• 56:06
  Teeth in letters to Santa It's their son Disney.
• 56:12
  Plus right now everybody go go, find it.
• 56:14
  Hey Dylan says a in my personal space.
• 56:17
  There's a fuzzy line that he's that they forgot to dub, so it's
• 56:22
  him as faulty, but there's no reason you haven't done more
• 56:26
  with them, is it just cause you're so busy with Sesame and
• 56:28
  all the sort of Productions around the world, or is it just
• 56:31
  a personal thing? Like you decided, where is it?
• 56:34
  Well, it's doing with the, with the To be perfectly candid.
• 56:43
  There was there were there were years when you know, when they
• 56:47
  were the years that they were fully staffed and with the with
• 56:51
  the, the crew, you know, Richard and Jerry and Dave, and you
• 57:00
  know, that when and Kathy and Louise in the whole group, you
• 57:05
  know, they were they were fully staffed up and then there were
• 57:09
  called the years when, when the classic Muppets were kind of in
• 57:13
  flux and when, you know, when Jim Jim passed away and this is
• 57:19
  my take on it. This is not official, it's just
• 57:22
  me talking and in a way things were in flux and the company got
• 57:26
  sold and it was the you know that Holding company that had it
• 57:29
  for a while and then they started selling parts off and
• 57:32
  that's when Sesame Street bought the Sesame Street muppets.
• 57:37
  And, you know, there were years when the Muppets were not really
• 57:42
  what you'd call a viable creative entity, in my opinion
• 57:49
  and you know, and then I was in then, you know, when Disney
• 57:53
  finally did the deal and they finally got and they finally
• 57:57
  found what to do with them and they don't know how to use them
• 58:02
  to their best advantage, and how to really breathe some life into
• 58:09
  this into these wonderful characters in this wonderful.
• 58:11
  Fantastic. And by then, you know, I was, I
• 58:17
  was starting to be the old guy and I was not the new Flash
• 58:22
  young Puppeteer anymore, you know, I was so the guys that
• 58:28
  That they brought in to breathe life into that were, you know,
• 58:32
  the new guys, the, the younger folks, which is fine with me.
• 58:36
  I don't mind being being my age and having lived the things and
• 58:42
  had the opportunities that I've had.
• 58:43
  You know, I had massive amount of took those opportunities that
• 58:47
  those those folks didn't get. So, the way I look at it and I
• 58:52
  was, you know, I missed that boat.
• 58:56
  I would love to have worked. Do you know Disney Muppet stuff
• 59:00
  but by the time that franchise had new life, I had moved on to
• 59:07
  other things, you know. And and they didn't necessarily
• 59:11
  want, you know, somebody who was in their in their late 50s.
• 59:17
  Working a puppet that, you know, he might, you know, croak before
• 59:21
  they where you could, maybe that's a good thing if you're
• 59:27
  playing a frog, right. Right, maybe they want you to
• 59:29
  cry. Yeah, but yeah, but yeah, but
• 59:34
  horrible pun Jokes Aside. Thank you for the horrible.
• 59:41
  Yes. And I had, you know, plus, you
• 59:43
  know, that's, that's, that's, that's one take on it.
• 59:47
  I was also very happy at Sesame Street, and, and kind of was
• 59:54
  somewhat useful at Sesame Street's.
• 59:55
  So while some of the other guys, Guys and gals were, you know,
• 1:00:00
  off doing, you know, doing the Muppet stuff?
• 1:00:02
  Somebody had to hold down the fort to Sesame Street.
• 1:00:05
  Yeah, yeah, absolutely. Yeah.
• 1:00:07
  And, you know, and I would like to think that for, you know, for
• 1:00:10
  a few years, you know, that was, you know, I was helping to, you
• 1:00:17
  know, to keep the Sesame franchise.
• 1:00:22
  You know, working working working nicely.
• 1:00:26
  Yeah. And you know and I like doing my
• 1:00:29
  own projects to and I've got a you're not going to you do you
• 1:00:33
  have a lot of great off Sesame projects, you had a the
• 1:00:38
  Halloween stage show a couple years ago which you'll have to
• 1:00:42
  remind me what it was called because all of you.
• 1:00:45
  All Hallows Eve, which I saw some video.
• 1:00:49
  I saw some of the puppets, those puppets.
• 1:00:51
  Like, it looks incredible. Did you build all those
• 1:00:53
  yourself? Oh, there they are.
• 1:00:56
  Oh yeah, wow. Okay, we're looking we're
• 1:00:59
  looking at some some spooky skeletons with some jack
• 1:01:02
  o'lantern heads and what looks like a a hunchback or is he just
• 1:01:06
  hunched over? He's just hunched over.
• 1:01:08
  That's a stick that makes. Oh, that's okay.
• 1:01:10
  That's a like a very strange. Almost kind of bunraku style
• 1:01:18
  vent dummy of Spencer lat. Oh lady Puppeteer.
• 1:01:23
  Spencer lot. Yeah.
• 1:01:25
  One of the leads in the thing. Yeah.
• 1:01:28
  So that was that was a project of love that I that I worked on
• 1:01:32
  for a number of years, is that? Because there's a point in this
• 1:01:40
  I'm not comparing myself to anyone, but I also really like
• 1:01:46
  being home. I love that.
• 1:01:49
  I'm crazy mad about my wife and I've got young kids and and I
• 1:01:56
  don't mind being home at all. I can, you know, I'm I'm not a
• 1:02:02
  workaholic I you know, during the during the lockdown and in
• 1:02:08
  2020 I gardened for a year and a half and there were, you know,
• 1:02:13
  there was jobs here and there and things to do, professional
• 1:02:21
  work, but I'm perfectly happy working in a garden.
• 1:02:26
  And, you know, and cooking dinner for my my family and
• 1:02:28
  playing with my dogs and and not going anywhere.
• 1:02:34
  Everything I Need Is Right Here. Sure.
• 1:02:38
  Yeah. You know, I'm right in the
• 1:02:39
  middle of a shop. I can build anything in this
• 1:02:42
  shop and I guess it's fun. Sort of saying the shop behind
• 1:02:46
  you like obviously this is the podcast people can't see it but
• 1:02:49
  you've got, you know, there's two giant eyeballs.
• 1:02:51
  I can see there's an elephant head.
• 1:02:54
  If there's That's a very creepy clown puppet.
• 1:02:58
  That's definitely going to help my dreams.
• 1:03:01
  Yeah. Oh that's he's going to have
• 1:03:02
  he's going to have his head and Snuffy's body.
• 1:03:05
  Okay. Yeah that's yeah, that is.
• 1:03:07
  That is one of the creepiest things I've ever made.
• 1:03:09
  It's it's really Terrible. Oh no.
• 1:03:17
  Oh, I hate it. Well, I'll see if I can put a
• 1:03:20
  photo of this on the Instagram or something when this goes
• 1:03:23
  live. But oh, my gosh.
• 1:03:26
  Like, it's terrifying. It's like a, like a killer
• 1:03:28
  clowns from outer space and it's even creepier up close.
• 1:03:32
  Oh no. Oh, I hate it, pretty.
• 1:03:40
  Oh yeah, I've a clown thing. So yeah, basically, I turned all
• 1:03:46
  of my. Oh my My horrible clown
• 1:03:49
  nightmares into into the into this character.
• 1:03:52
  Oh, he helped lots of different go.
• 1:03:54
  Oh, yeah, that's yeah. That's terrifying.
• 1:03:56
  Marty although he does he's got a scary when he's eyebrows go
• 1:04:00
  up. Yeah.
• 1:04:08
  Speaking of this is a small version of the same kind of
• 1:04:18
  nibbling at your feet. All right, thanks for that.
• 1:04:20
  Yep. There you go.
• 1:04:22
  Now that's a free one for you. Yeah.
• 1:04:23
  Thanks for sharing. It's bigger and bigger.
• 1:04:37
  And the the final version you can, I'm sure you can pull them
• 1:04:40
  up online but the final version was about I don't know, 20 feet
• 1:04:44
  tall. It was just oh great, horrible
• 1:04:49
  writable. That's that really was designed
• 1:04:52
  to be pretty much the worst thing imaginable does not a sure
• 1:04:57
  thing not a kids show. No, speaking of your stage work,
• 1:05:04
  you think a lot of people don't know that, you were one of the
• 1:05:07
  original puppeteers on Audrey to, for Little Shop of Horrors
• 1:05:11
  in 1983. And then again, when it came to
• 1:05:13
  Broadway in 2003, and did you watch, We're come the movie as
• 1:05:18
  well, or was it just the stage show?
• 1:05:20
  Just a stage show? But I, but I, but I wasn't just
• 1:05:24
  a puppeteer. I mean, I designed built and
• 1:05:26
  designed and built the thing as well, that's incredible.
• 1:05:29
  I mean, Regional. That thing is one of the, the
• 1:05:33
  most iconic. Yeah.
• 1:05:35
  Puppet characters in all of Theater history.
• 1:05:38
  So I love it. She, she was one of those things
• 1:05:42
  where a life imitated art almost perfectly.
• 1:05:47
  You know, where, you know, in the, in the play, the plant, you
• 1:05:50
  know, starts a little, and grows, and grows, and eventually
• 1:05:53
  takes over the world where the, you know, the play itself did
• 1:05:56
  exactly that as well. So it became one of the biggest
• 1:06:00
  stars Amateur properties out there and then well, I did the
• 1:06:07
  original in 82 which wasn't an off-off-broadway showcase that I
• 1:06:14
  made a whopping $350 for the entire run and then and then did
• 1:06:20
  it again in 2003 on Broadway. And when it's far as the Film
• 1:06:30
  Production, I was in London for a lot of the Film Production,
• 1:06:34
  Ellen, and I were still together then, so we were, we were living
• 1:06:37
  together in a nice little place. Way off the Beaten Track and I
• 1:06:42
  was, I was actually doing tale of the bunny picnic then.
• 1:06:47
  So interesting I was doing that project which was shooting
• 1:06:50
  concurrently with with little shop I believe.
• 1:06:55
  And I was working a start working on spitting image back
• 1:06:57
  then too and so I was really enjoying the spitting image
• 1:07:02
  thing and then my best friend Anthony Hansberry.
• 1:07:06
  Did a lot of the lead puppeteering for the for the
• 1:07:10
  little shop film. So you are like kind of just
• 1:07:14
  popping. I was the face there on the
• 1:07:16
  second. I was there set as Ellen's
• 1:07:19
  boyfriend, right? Was that was my main, my main
• 1:07:24
  purpose. And, you know, as you know
• 1:07:28
  somewhat, you know, Godfather to the project from from its
• 1:07:32
  Inception. But sure.
• 1:07:35
  Yeah. Lyle Conway, just did an amazing
• 1:07:39
  job on those on the characters for that.
• 1:07:42
  It's It's, it's known in the business as the last great
• 1:07:46
  rubber monster. It was it was just before CG and
• 1:07:52
  there's there's, you know, there's no CG on them.
• 1:07:54
  They just they just played with the timing a little bit, the the
• 1:07:57
  film speed. Yeah.
• 1:07:58
  But everything that you see, as far as all, that all, that all
• 1:08:02
  the movement on that incredible creature was all levers, cables,
• 1:08:07
  levers, and rubber done. Amazing.
• 1:08:11
  I know it's incredible. I love it, me too.
• 1:08:15
  And then I also have to ask you, because, as we're recording
• 1:08:18
  this, Or a few weeks away from Stephen.
• 1:08:20
  Sondheim's passing cut, because you worked on set design for
• 1:08:24
  frogs, one of his lesser-known musical.
• 1:08:26
  Yeah. Did you ever get to meet
• 1:08:28
  sometime? You know what I did?
• 1:08:30
  We had the big kickoff for for the project Susan Susan, I'm the
• 1:08:41
  director. Like letter name isn't
• 1:08:45
  Strassman. Susan Stroman stroke so I was
• 1:08:49
  close. Yeah it was it was on the tip of
• 1:08:51
  my tongue and the wrong tip and oh and who's the who's the lead
• 1:08:58
  on that? He also wrote it.
• 1:09:01
  Ah blanket sorry. But that's alright.
• 1:09:05
  We had we had a the big kind of get together to kick the whole
• 1:09:10
  project off. And as Stephen Sondheim, was
• 1:09:14
  there, when I wish I had, I wish I had the nerve to, to talk to
• 1:09:19
  him. Just just just tell him how much
• 1:09:21
  I love Sweeney Todd. Yeah, but that was, that was a
• 1:09:28
  fun production to work on. I built a built, some couple of
• 1:09:33
  crazy puppets for that and one of one of which got cut and it
• 1:09:39
  will die, it was it's one of my professional regrets that thing
• 1:09:46
  never saw the light of day that never never saw performance
• 1:09:48
  because it was Kick-Ass, it was really something special.
• 1:09:54
  What? What was it?
• 1:09:55
  It was it was this a mythical creature called?
• 1:09:58
  The guy? Geez they and they you know they
• 1:10:02
  wanted me to build this big huge creature and I came up with a
• 1:10:08
  concept and pitched it to Susan and she liked it and then she
• 1:10:15
  and I pitched it to the writer of God.
• 1:10:18
  He from The producers, and we said that the movie, The
• 1:10:24
  Producers, Nathan line, Nathan Lane, Nathan Lee, who wrote it,
• 1:10:29
  we got that in started. Thank you, Nathan.
• 1:10:33
  And so we sold on this idea. And what it was was it's kind of
• 1:10:38
  its kind of an old as a puppeteer meme to a certain
• 1:10:40
  extent where you take a whole bunch of people and you form
• 1:10:45
  them, you know, you know, you know, I guess you can't see this
• 1:10:49
  but I mean, you guys you to sit can but This was one of the
• 1:10:52
  bases of it. My head is the pupil, and this
• 1:10:56
  is in my arms of the eye and the pupil is looking left and right.
• 1:11:03
  So, I designed and this full thing where maybe a dozen
• 1:11:11
  performers all in black velvet with with red, orange and yellow
• 1:11:19
  stripes as highlights on we're We're sewn carefully into the
• 1:11:24
  costumes. So, when they formed together in
• 1:11:26
  the shape, they form this big huge face and some of them had
• 1:11:31
  had Keith on their arms. And they would this person with
• 1:11:35
  whole clowns arm over here and then you have this big huge
• 1:11:38
  mouth and the eyes they had helmets, they put on their eyes
• 1:11:42
  that to make their heads green. And they they had webbing behind
• 1:11:47
  their arms or they lift their arms up there and this and white
• 1:11:50
  fabric would be behind them. And and they would, they all
• 1:11:54
  kind of crawled and used on to stayed in this, in this swamp
• 1:11:59
  scene and then they would form. There's somebody brought him a
• 1:12:03
  wheelbarrow which was like a little step unit and the boom,
• 1:12:06
  boom! In this thing formed right in
• 1:12:07
  front of your face and John byner.
• 1:12:11
  The great comedian did the voice for it.
• 1:12:13
  He was part of a kind of like the the third eye, he was there
• 1:12:18
  and as he as he did the lines, The the character kind of
• 1:12:27
  mirrored his face and it was just right.
• 1:12:31
  He said yeah, yeah, it sounds like we're looking forward to
• 1:12:34
  saying that on the knee stays and sesame strike.
• 1:12:36
  Well, I got all kind of maybe season 54.
• 1:12:42
  Yeah Vines. But I'll trust that one out
• 1:12:46
  again. Some other time.
• 1:12:48
  Well, Marty, we have taken up so much of your time.
• 1:12:50
  We could literally talk to you for hours and hours.
• 1:12:52
  About this. It's okay.
• 1:12:53
  I know you got out of it, but the, but the dogs have started
• 1:12:55
  strut stop barking. So, so, well before we go, we do
• 1:13:01
  have Jarred, my each have a series of questions.
• 1:13:04
  We each have our own that. We ask our guests this week.
• 1:13:07
  I've got a few questions to ask you.
• 1:13:10
  Lightning round style, feel free to take as much or little tiny
• 1:13:15
  here. Here we go.
• 1:13:17
  I'm learning to be more brief with my Bing Bing.
• 1:13:22
  Grief with my answers is a good challenge for me.
• 1:13:26
  All right, well, I'll try. But if you fail, it's still a
• 1:13:29
  win for. All right.
• 1:13:31
  Marty, what is your favorite dessert?
• 1:13:34
  Favorite dessert. This is a lightness is, that's
• 1:13:38
  why I gotta think of like a fast.
• 1:13:39
  Fast answer. I'm rather fond of like banana
• 1:13:42
  cream pie, but but pumpkin put this a great choice with with
• 1:13:47
  ice cream. Yeah.
• 1:13:52
  I'll go. All right.
• 1:13:54
  Who is your favorite superhero? When I was a kid, I loved Green
• 1:13:59
  Lantern. I just for some reason I always
• 1:14:04
  was crazy about doing there. Yeah.
• 1:14:08
  Look, real answer. If there was a muppet based on
• 1:14:11
  yourself who beside you, would you want to perform it Living or
• 1:14:19
  dead. Who would I want to perform a
• 1:14:21
  muppet based on me? Spencer Locke.
• 1:14:28
  Great choice, super-talented guy, Marty please pick a number
• 1:14:33
  between 1 and 100 15 the number 15 movie on the AFI top. 100
• 1:14:40
  movie list is 2001 A Space Odyssey.
• 1:14:43
  Have you seen it and do you like it?
• 1:14:46
  Yes, I saw it. When it first came out, I saw it
• 1:14:48
  in the movie theaters, I admit I was high when I saw it and I was
• 1:14:54
  in high school and it was like, the first time my brother Older
• 1:14:57
  brother like like, had me smoke, some, some weed and I was, yeah,
• 1:15:03
  I was fit to be tied. And I thought it was one of the
• 1:15:06
  most amazing, beautiful things I've ever seen in my life and,
• 1:15:09
  you know, and that, and that hasn't changed.
• 1:15:13
  And I think it's, I think it's, I think it broke so many rules
• 1:15:17
  of filmmaking, and it's just A Marvel of Simplicity and beauty
• 1:15:23
  and profundity. I absolutely agree and I've
• 1:15:26
  never even seen it high. I've never I've never seen it.
• 1:15:31
  You don't see if you can watch on the big screen.
• 1:15:34
  I feel like that's the only way, right?
• 1:15:36
  Well, you need all of your senses to be taken up by the
• 1:15:39
  weirdness of Stanley Kubrick and yeah, and you need to, you know,
• 1:15:42
  not not look at it with, you know, through the lens of so
• 1:15:46
  many of the movies we've seen over there.
• 1:15:49
  Yeah, Splash. It's it's just, it's a, it's
• 1:15:56
  it's I think it's very accurate with regards to what?
• 1:16:00
  Space is probably really like just which is just quiet and
• 1:16:06
  nothing going on and waiting for a month after doing nothing.
• 1:16:14
  But the movies more interested in interesting than and it's
• 1:16:17
  waiting around doing nothing for months.
• 1:16:18
  That's right. That's right.
• 1:16:20
  So our last guests who was Alison Damien.
• 1:16:23
  Alex Denis, wonderful. She is wonderful.
• 1:16:29
  She not knowing who our next guest was going to be wanted to
• 1:16:32
  ask you. What?
• 1:16:33
  Instruments? Do you wish you could play
• 1:16:36
  piano? God, I wish I could play the
• 1:16:38
  piano. Yes, I'm here.
• 1:16:40
  Yeah, I I consider it one of my great.
• 1:16:44
  Feelings that I can't speak any other language except English
• 1:16:49
  and I can't play the piano. And I bought bought a piano and
• 1:16:54
  I try to, you know, it was going to take lessons with my little
• 1:16:57
  daughter and you know, I still think I could still learn how to
• 1:17:00
  play piano. It's never too late.
• 1:17:03
  I'm the same, it's hot. I took lessons when I was about
• 1:17:06
  12 and I stopped after about a month because I was like, yeah.
• 1:17:09
  And that is like, my biggest regret in life that I didn't do
• 1:17:11
  it because I just want to get behind it and know what I'm
• 1:17:13
  doing. I don't need to be a master
• 1:17:14
  pianist. I've never get behind it and,
• 1:17:16
  like, kinda can bang out, Let It Be by the Beatles, and that's
• 1:17:19
  about it. Yeah, yeah.
• 1:17:22
  I just, I'd just like to know some chord progressions and to
• 1:17:26
  be able to noodle in a, in a, you know, in a way that
• 1:17:32
  mirrored, what I was feeling? Well, I'll come over to America,
• 1:17:37
  and we'll take lessons together. How's that sound?
• 1:17:40
  Yes, yes, I need. I need, I need to push myself on
• 1:17:43
  that. Yes, don't think I could do that
• 1:17:46
  now for sure. And finally, without knowing who
• 1:17:51
  it is, what question would you like our next guest to answer?
• 1:17:59
  What makes them? Delirious with joy most in their
• 1:18:09
  life. I like it.
• 1:18:12
  That is something we're genuinely curious about whoever
• 1:18:14
  that next guest is going to be. I mean, I don't know her that
• 1:18:17
  next guest is going to be and I have to bring them here.
• 1:18:19
  So that'll be fun. Figured out Jerry dude.
• 1:18:23
  Choose that guessed based on that question.
• 1:18:25
  I do know what, I probably know. I'll keep it in mind, I'll
• 1:18:28
  remember that. Oh, Martin Robinson, thank you.
• 1:18:32
  So So much for being here, this has been an absolutely thank you
• 1:18:36
  for chatting with us about Sesame and everything else that
• 1:18:39
  you do. And you've done, we're looking
• 1:18:41
  forward to the next season of Sesame Street, and the next
• 1:18:43
  season of help stirs and everything else that you've got
• 1:18:48
  in the works. So, thanks for being here.
• 1:18:51
  I will say, now, this is, this is a real Joy, why I was in a
• 1:18:54
  room with you once this is back many years ago and I was going
• 1:18:58
  to nurture, this was 2008. So I kind of set a Sesame Street
• 1:19:01
  and I was too nervous to go and say hello to you.
• 1:19:05
  And I was like I said, that's not a problem, unless you get
• 1:19:08
  and I can't, I can't. So, it's lovely that I get to
• 1:19:11
  actually sit and properly. Say, thank you for all the
• 1:19:13
  amazing stuff you've done. You're very welcome.
• 1:19:16
  And you know and you can come over and give me a hug any time
• 1:19:20
  for any reason. What an invitation, wow.
• 1:19:24
  What an invitation, wow.