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It has always been difficult to get Big Bird to be very pretty. Big Bird in England is much more gorgeous.
If you're doing a large, complicated character with radio controls, it might take a number of people several months to make it and if you're talking about a quick little hand puppet, it could be made in 2 days, so there's enormous range there, and no real easy generalities.
If anything, there's a difference in working with color in England and the color in the US.
I've never felt any sense of competition with anybody, and we're all friends; we're all good friends.
I was very interested in theatre, mostly in stage design. I did a little bit of acting.
I think my own strengths are in television production.
I do remember doing shows strictly in black and white, too, so you're right.
I decided that what I really wanted to do was go off and paint.
But with The Dark Crystal, instead of puppetry we're trying to go toward a sense of realism - toward a reality of creatures that are actually alive and we're mixing up puppetry and all kinds of other techniques.
At the University of Maryland, my first year I started off planning to major in art because I was interested in theatre design, stage design or television design.
At the time of Polaroid - and I did a couple of other commercials just before I stopped doing that stuff - at that point I was at the level where they respect you and your opinion and all that sort of thing.
And also there wasn't much money in television in those days anyhow.
Actually the copies of characters is something I don't particularly like to talk about in articles but just for your information, most characters there's only one.
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