A Quote by Steve Whitmire

The thing that got me closest to doing Kermit was remembering what Jim did when he was doing Kermit. When he would do Kermit, there were certain faces that he made. There was a certain way he stood, a certain kind of body language that he had.
I don't know how many days I worked there [on Star Wars]. The thing I do remember was I somehow got a parking space next to Kermit the Frog. It was Jim Henson's space, with this Kermit the Frog sign. I took a photo of it and sent it to my mom with a caption that read, "Look, Mom. I made it. I got a parking space next to Kermit the Frog." I was always fascinated by the film-set infrastructures.
Henson had never spoken to me about Kermit, but he had spoken to Frank Oz about the idea of me doing the character if he became too busy. I felt flattered.
I performed in public for the first time at three years old. I remember it like it was yesterday. It was on a big stage. There were probably three or four hundred people in the audience. We were doing this dance, this Kermit the Frog routine, all of us in our little green leotards.
I would be open to doing cinema anywhere in the world. I wouldn't want to restrict myself to a certain kind of cinema or a certain language or get typecast.
If you want to do a certain thing, you first have to be a certain person. Once you become that certain person, you will not care anymore about doing that certain thing.
Jim Henson once allowed me to visit the Muppets on set and spent an entire day showing me how he and the other puppeteers performed Kermit and all the characters! After that, I was lucky enough to work with both George Lucas and Steven Spielberg on many fun animation projects and learned so much from them.
Katy Perry look like Kermit the Frog.
I think I have a certain kind of style. I think at the same time, I'm aware that there's certain things that I did as a playwright in certain plays, and I try not to repeat myself, even though I have a certain kind of sensibility, and I tend to gravitate toward certain things.
The first big thing that I did with my dad was the bicycle sequence in "The Great Muppet Caper," where Kermit and Piggy are riding bicycles in Battersea Park in London and that was a complex marionetting and cranes driving through the park, it was a complicated scene, and I did that with my dad.
I build a robot version of Jenna Marbles' dog, Kermit. It turned out a little bit worse than I had anticipated.
In the final exam in the Chaucer course we were asked why he used certain verbal devices, certain adjectives, why he had certain characters behave in certain ways. And I wrote, 'I don't think Chaucer had any idea why he did any of these things. That isn't the way people write.' I believe this as strongly now as I did then. Most of what is best in writing isn't done deliberately.
There were times in my career I went a little further than I wanted because of expectations. Doing certain things onstage when children were in the audience, wearing certain clothes, singing certain lyrics.
It's very important for me to really use this body as a barometer of a certain kind of knowledge--to take the personal risk of exposing my own body in a certain kind of way. I can't ask anybody else to do something that I don't do first myself.
It would be quite interesting to use Kermit the Frog to act like a real frog. But it wouldn't produce captivating theatre.
I went on tour in the 1952-53 season for producer Kermit Bloomgarden when he took over 'The Shrike' and sent it on the road.
I was genuinely starstruck when I met Kermit the Frog. Like many stars here tonight, he's a lot shorter in real life.
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