Jim Henson: The Biography (83 page)

Twenty-three-year-old Brian Henson performed the dog on
The Storyteller,
one of many projects in which Jim and the Henson children would perform or participate. “One of the best ways for us to be around him,” said daughter Cheryl, “was to work with him.”

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Happiness: Jim plays with breadsticks over dinner. “Jim really used his hands,” said Mary Ann Cleary. “They were very powerful and present … a puppeteer’s hands.”

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Jim on vacation with Mary Ann in France. It was his first real relationship since his separation from Jane
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The major Muppet performers, on the steps of the circular staircase at One Seventeen in 1989. Clockwise from bottom center: Jim, Frank Oz, Dave Goelz, Richard Hunt, Steve Whitmire, and Jerry Nelson
.

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Every biographer has the unique privilege and responsibility of living with their subject—and their subject’s family, friends, colleagues, and co-workers—during the course of researching and writing about their life. It has been my great good fortune, then, as I wrote about a truly extraordinary life, to spend five years with some very remarkable people.

First and most important, this project would never have been possible without the gracious support and encouragement of the Henson family: Jane, Lisa, Cheryl, Brian, John, and Heather Henson. Enthusiastic as well as endlessly patient, all six were generous with their time and genuinely thoughtful, reflective—and, as you might expect,
funny
—during our countless interview sessions, emails, and phone conversations. They also kindly assisted me in reaching out to other performers, employees, friends, and family members whose input was critical to this book. It has been my privilege to have Jim’s family directly involved with this book, and to have them share their stories and memories with me. Jane Henson’s death in April 2013 after a courageous fight with cancer was a genuine loss, and I’m so grateful for the time I spent with her, tape recorder rolling, to talk about Jim’s life and her own. I’ll miss her. A lot.

I also miss Jim Henson, and want to thank him, wherever he is (and he was always certain he’d be
somewhere
) for the pleasure of working on this project. While it may sound goopy and New Agey, there really were times when I sincerely felt his presence as I turned over page after page of his handwritten notes, touched his personal leather-bound copy of a script, or even watched someone’s face light up as they recalled a memory of working with him or making him laugh. I wouldn’t presume to say he was guiding this project, but he really did seem to somehow always be there, calmly guiding, inspiring, and making everything better. Thanks, Jim.

The Jim Henson Legacy—an organization established in 1993 by Jane Henson with Al Gottesman, Arthur Novell, and Dick Wedemeyer to preserve and perpetuate Jim’s countless contributions to puppetry, film, special effects, and culture—also provided invaluable support and critical guidance. My deepest thanks go to the inimitable Arthur Novell—if this book can be said to have a spiritual father, he’s it—whose advice, keen instincts, and sense of humor could always be counted on. Al Gottesman, attorney extraordinaire, ran the traps necessary to grant me access to countless unseen documents, and provided critical insight into the inner workings of Jim’s company; meanwhile, the good-humored Bonnie Erickson guided me not only through Henson history, but also gave me a crash course in the art and craft of designing and making Muppets.

A mere “thank you” hardly seems adequate to express my appreciation for the enthusiasm and very thorough support I received from Karen Falk, archivist for The Jim Henson Company—the company’s official name since 1997—at its Long Island City facility. Talented, infinitely patient, and hugely organized—she can find
anything
quickly—Karen not only helped me pore through the archives, but also gamely helped lug archival boxes, change copier paper, and track down photo credits. She also allowed me to barrage her with emails at all hours of the day, and always responded quickly and thoroughly. You’re the greatest, Karen.

I’d also like to thank the staffs at The Jim Henson Legacy and The Jim Henson Company, who not only provided invaluable assistance, but graciously allowed me to share their space and get in their way as they worked. In particular, I’d like to extend a special thanks
to Gigi Bewabi, Rhoda Cosme, Carla Dellavedova, Nicole Goldman, Ashley Griffis, Joe Henderson, Hillary Howell, Jill Peterson, Peter Schube, Craig Shemin, and Nathaniel Wharton.

One of the real thrills of this book was meeting and talking with the Muppet performers and creative staff. I am especially indebted to Jim’s closest friend and collaborator, Frank Oz, who graciously made himself freely available to me not only in person, but also enthusiastically (and usually hilariously) responded to countless emails and phone calls asking for “just
one
more minute” to answer a question. I’m deeply saddened by the loss of performer Jerry Nelson, who passed away in late 2012 as this book was being completed, but I’m extremely grateful for the time I had with him at his home in Cape Cod, and thank his wife, Jan, for sharing him. I also appreciate the time I was given by Dave Goelz and Steve Whitmire, not only for their insights and perspectives, but also because they allowed me the pleasure of watching them perform on-set (and my thanks to the members of OK Go, who also permitted me to be there). I’m also very thankful for the time, courtesy, and insights I received from the wonderful and talented Martin Baker, Diana Birkenfield (whom we also lost in 2012), Fran Brill, Christopher Cerf, Kevin Clash, Michael Frith, Brian and Wendy Froud, Louise Gold, Peter Harris, Susan Juhl, Duncan Kenworthy, Rollie Krewson, Larry Mirkin, Kathy Mullen, David Odell, Bob Payne, Alex Rockwell, and Jocelyn Stevenson. I also appreciate the courtesy extended by the families of Bernie Brillstein, Richard Hunt, Jerry Juhl, and Anthony Minghella, all of whom graciously permitted me to use unpublished archival interviews conducted by others.

Further, I am grateful to the following for their time, courtesy, assistance, expertise, and/or insights: Tommy and Barbara Baggette, Bob Bell, Stephen Christy, Mary Ann Cleary, Joan Ganz Cooney, Mark Evanier, Christopher Finch, Royall Frazier, Stan and Hunter Freberg, Judy Harris, Joe Irwin, Dr. Stanley and Tomma Jenkins, Gordon E. Jones, Mac McGarry, Ken Plume, Nick Raposo, Lynnie Raybuck, Jessica Max Stein, and Susan Whitaker. For background on Leland, Hyattsville, and Jim’s family and ancestry, I am indebted to Dot Love Turk, Daryl Lewis, Jody Stovell, Rick Williams, Sr., the Hyattsville Preservation Society, Colleen Formby at the Hyattsville
Library, Sarah Moseley, Mayor John Brunner, Iowa State University archivist Michele Christian, and Vin Novara and Anne Turkos at the University of Maryland. For their assistance with images and other archival matters, my sincere thanks to Susan Tofte and Jennifer Wendell at Sesame Workshop, Madlyn Moskowitz and Tina Mills at Lucasfilm, and Debbie McClellan and her team at Disney. At the Center for Puppetry Arts in Atlanta, Vincent Anthony, Jeremy Underwood, Brad Clark, Liz Lee, and Meghan Fuller were exceptionally helpful.