A Quote by John Pinette

You know, working with puppets - there is just something about it. Because the puppet takes on its own personality. — © John Pinette
You know, working with puppets - there is just something about it. Because the puppet takes on its own personality.
I hate puppets so much. I dream about puppets all night. I see strings on people. The nice thing is we can just take a puppet and put it in front of a wall and blow the shit out of it.
Funny enough, there have been puppets in everything I've written because I have a huge love of puppets. There's a big puppet musical at the end of 'Sarah Marshall.' I wrote 'The Muppets.'
The question is, do we have a shadow government? And, if we do, who are those intelligent minority that is -- that is guiding us through? And where are they guiding us to? If you skip past all of the puppets and the strings, if you stop looking at the puppets themselves, you have to see who's behind the puppets. Who is choosing the puppets and the players? Who's the puppet master? George Soros.
Puppets allow a person to express things through this surrogate that wouldn't normally get expressed. You know there's famous techniques of puppet therapists. Put this hand puppet on and tell me what the problem is.
I've never had anyone put on a puppet show to convince me of anything. And I've done a lot of stuff. I don't know that I would put the puppets on when I was pitching a show. This was the head of the studio putting a puppet show on. And I'll tell you, he wasn't bad.
We're all puppets, Laurie. I'm just a puppet who can see the strings.
But initially when I was working with my dad, it was in special effects puppets with radio control and motors and puppet effects.
One time, it was really funny, I was going on stage... and they were like, 'Oh, we didn't mic the puppet! Mic the puppet!' So, that's how I know that sometimes I do a very good job, because they think that the puppet is actually, like, real.
The thing with animation is that you record the actors like a radio show and then the animators become actors in their own way because it's their job to take this puppets and make them seem alive. They bring their own personalities to the way they move these puppets.
All of my puppets have their own personalities, their own background, and they enjoy what they do. How they say things, sing things, how they talk. I kind of created them out of my own personality. They are all me.
I wanted to deconstruct the puppet show. I wanted to turn it inside out and do stuff that you're not supposed to do. I didn't want it to be gentle like most puppet shows tend to be, since they come from childhood where you're gently trying to tell a story. I wanted to blast all that out of the water. I think there's plenty of room of any kind of attitude toward puppets. I call puppeteering acting while hiding.
Who's in or out, who moves the grand machine, Nor stirs my curiosity, or spleen; Secrets of state no more I wish to know Than secret movements of a puppet-show; Let but the puppets move, I've my desire, Unseen the hand which guides the master wire.
That is a considerable amount of puppets. But ... [Proceeds to summon one hundred puppets of his own] With this, I took down a whole country
Puppets and dolls are the gateways between human beings and objects. There are tons of cliches to spout about puppetry and animism, the primacy of the object, attacking anthropocentric worldviews, etc, and while there were always puppets around, I started working with them to deal with the times I knew I wouldn't be able to collaborate with other humans, to have a team.
A puppet that starts to improvise badly is almost funnier than the puppet that's improvising well. So the show gets better when the improvising is really good, but also the show can also sometimes get better when the improvising sort of goes a little wrong and that's sort of a blessing to improvising with puppets.
How can one explain the attraction terror holds for some minds — and why for intellectuals? . . .In a totalitarian and terrorist regime, man is no longer a unique being with infinite possibilities and limitless choices but a number, a puppet, with just this difference — numbers and puppets are not susceptible to fear.
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