A Quote by Kalan Sherrard
I also eschew the identity of "puppeteer" it is a concept that blurs the boundaries of discrete objects and persons. I do think Anarchist Nihilist Puppet Show is my day job.
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When I was eight, I bought my first puppet. It was a monkey, and I paid five cents for it. I collected some scrap wood and built myself a puppet theatre. I made 32 cents with my first show, which I thought was pretty good, and that's when I knew I would be a puppeteer when I grew up.
So while you're trying to improvise, you're also trying to puppeteer, you're doing everything that you need to do to perform a puppet in our style, for a camera.
Above all, the translation of books into digital formats means the destruction of boundaries. Bound, printed texts are discrete objects: immutable, individual, lendable, cut off from the world.
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.
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.
I wasn't very good as a puppet. A lot of times in a movie, you need a really good puppeteer: you're sort of a puppet, and you're doing what you can. But I always, from the beginning, was kind of making up my own stuff from stand-up and sort of directing myself, so I wasn't very good in movies where I didn't have control.
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.
Eschew wicked company and associate with saintly persons. Acquire virtue day and night, and always meditate on that which is eternal forgetting that which is temporary.
I think I have in fact been situated in most of the squares on the political checkerboard, one after another and sometimes simultaneously: as anarchist, leftist, ostentatious or disguised Marxist, nihilist, explicit or secret anti-Marxist, technocrat in the service of Gaullism, new liberal and so on.
At the end of the day, it seems like there's a critic archetype for food movies, like with 'Ratatouille' or anything. You know, if you were doing a puppet show about chefs, one puppet would be the chef, one would be the critic.
I tried to do a puppet show on the streets, and I wasn't a very good street performer. But I found that I could stand in one place in Central Park and bounce a soap bubble on my arm, and I didn't have to gather a crowd for the puppet show. I had a crowd.
I’ve carved the puppet, and I manipulate the strings, but while it’s on stage, the show belongs to the puppet.
Honestly, when you start talking about genres, you're talking as much about the business side of writing as anything else. Certainly there are elements of reader expectation that play into various genres, and those are important, but it also becomes about packaging, placement, audience....In the end, I'm not a fan of labels. I think the best fiction blurs the boundaries between genres, stretches and breaks them.
I'm drawn to fiction that hints at nonfiction, that blurs or seems to blur the boundaries between invention and autobiography.
Donald Trump is showing the intellectual rigor, and emotional maturity, of a second grader. That's hardly being age-ist. This is a man who, when accused by Hillary Clinton of being a Putin puppet, actually responded: "No puppet! No puppet! YOU'RE the puppet."
The question of boundaries is a major question of the Jewish people because the Jews are the great experts of crossing boundaries. They have a sense of identity inside themselves that doesn't permit them to cross boundaries with other people.
