The Case of Jim Henson's Labyrinth
When Jim Henson got the green light for The Muppet Movie, he started quietly working on another film. It was a groundbreaking movie that ambitiously used only puppets as its main actors. He collaborated with artist Brian Froud, and together they developed an entire fantasy world. After six years of work, that film, The Dark Crystal, made it to the big screen. After it premiered, Jim Henson, being the workaholic that he was, already wanted to jump back in to make another film. He contacted Brian Froud, who came up with the idea of goblins.
Jim Henson loved the idea, and he told Froud that he wanted there to be humans in this film. Suddenly, Froud imagined a baby surrounded by goblins. He painted some concept art, and the idea for Labyrinth was born.
The Labyrinth was a seamless combination of The Muppets and the deep fantasy of The Dark Crystal. For Jim Henson, it was a deeply personal story of which he was immensely proud. It followed the journey of Sarah, an adolescent girl that has lost her baby brother to Jareth, the Goblin King. It’s also a story of self-discovery, of leaving childhood behind and heading into the wild and winding world of the unfamiliar. With beautiful sets peppered with other-worldly creations, Labyrinth created a unique physical world that still enchants audiences to this day.
So, as we continue Jim Henson June, let’s follow the Goblin King into the Labyrinth.
What Influenced the Labyrinth
In 1939, three-year-old Jim Henson saw what would become one of his favorite movies: The Wizard of Oz. Of course, the only thing he really remembered from the experience was the terrifying MGM Lion. But the story impacted Jim Henson’s imagination, and elements of L. Frank Baum’s fantasy world would influence his own fantasy stories for years to come.
As Brian Froud and Jim Henson laid out the story for the film, they intentionally pulled from several different established stories. The idea wasn’t to make something that felt completely original, but instead something that the audience would recognize. This was shown, in part, in the beginning of the film, when we see Sarah’s bedroom. There are pieces that inspired several parts of the story placed all around the room. This also plants the seed of ambiguity in the audience’s mind. Is this all in Sarah’s imagination, or is the Labyrinth real? This is a callback to The Wizard of Oz and another big influence, Alice in Wonderland.
Sarah falls down several “rabbit holes” of sorts all through the movie. Her trip through the Labyrinth is very reminiscent of Alice’s adventures. Some of the set designs and characters were created to specifically call back to Alice in Wonderland, for example the guards that were shaped as playing cards that asked Sarah riddles.
But beyond those two stories, the Labyrinth is filled with nods to classic fairytales and many different kinds of mythology. For instance, the concept of the labyrinth came from the Greek myth of Theseus and the Minotaur. Jim Henson said, “Traditionally, the labyrinth is thought of as the voyage through life--the journey through it is Life and the ultimate center is Death. And re-birth is coming back out again.”
Initially, Brian Froud suggested that there be a labyrinth in the film. He felt that it would not only be an interesting place for her character to be, but also could mirror the convolutions of her own thoughts. Jim Henson added, “After all, life is a kind of labyrinth, with all its twists and turns, its straight paths and its occasional dead ends.”
Summary
Sarah Williams is an imaginative teenage girl. She feels life is unfair because she has to watch her baby stepbrother, Toby, when her father and stepmother go out on the weekends. Once wishing the goblins would take him away she realizes she really does not want to lose him. In order to bring him home she must solve the Labyrinth and reach The Goblin King’s Castle. It is a journey she must take, but not alone. Along the way she finds friends like Hoggle, Ludo, and Didymus that help her navigate through the labyrinth.
Making Of
The story goes like this: Jim Henson and Brian Froud rode in silence as their limousine left a showing of The Dark Crystal. They stared at each other until Henson started to laugh and said, “The next one will be so much better!”
Jim Henson's daughter was studying mythology at the time, and often telling her father about the folktales she learned. He wanted to do a film inspired by these myths, but since Goblins were more of Brian Froud’s style, they shifted their focus to a story about goblins stealing a child.
Of course, Henson would eventually make something inspired by his daughter’s education in folklore, a TV series called, “The Storyteller.”
After the rigorous 5 years spent on creating “The Dark Crystal,” Brian Froud would have loved to take a break. Instead, he and Jim Henson started working on “Labyrinth.” Although Froud’s title as Concept Director would mean a lot of work, this second film only took 3 years to create. So, Froud still considered it to be a vacation.
The Labyrinth’s story went through many stages. As Jim Henson continued to promote his current film, he filled a notebook with ideas for his next one. One draft featured a king and a jester, and a twisted maze filled with monsters. There were concepts too dark to end up in the film, and some ideas that made their way to the final cut. For example, Jim Henson always wanted an Escher-inspired staircase sequence.
Many critics felt that “The Dark Crystal” lacked the humor that audiences expected from Henson projects. So, Jim Henson made it a priority for there to be humorous scenes in “Labyrinth.”
Brian Froud and Jim Henson met up with writer Dennis Lee, a songwriter for the series, “Fraggle Rock.” They pieced together a story from Henson’s notes, and Froud created some art to capture the look and essence of the film. One of these paintings was called, “Toby and The Goblins,” a beautiful image of a happy child among a crowd of monsters. Lee gathered the notes and drawings, and pieced together a first draft of the story. This novella would be worked into the final draft of the screenplay.
As Lee worked on his draft, Jim Henson searched for a screenwriter. He wanted a comedian, and decided to go with Terry Jones, one of the frontmen of the famed troupe, “Monty Python.” Jones wasn’t just a comedian, he was also a fan of mythology and co-wrote the famous film, “Monty Python and The Holy Grail.” Jim Henson wrote to Jones, telling him that his contributions would make the script, “jump to life.”
Dennis Lee provided Jones with a poetic treatment about 90 pages long, and Brian Froud handed him notebooks of concept art. Jones used these references to write his script, but was mostly inspired by Froud’s art. Jones said, “Every time I came to a new scene...I looked through Brian’s drawings and found a character who was kind of speaking to me already and suddenly there was a scene.”
Jones was absolutely taken with Froud’s art and Henson’s ability to make these creatures come to life. While filming, he would not call the creatures puppets. He referred to them as some other form of magic.
Jone’s first draft went to another writer for revisions, and then another after that. The script went through almost 25 revisions over a two-year period. One of these writers was Elaine May, who was brought on to polish the script in 1985. Her revisions humanized the characters, especially the lead role of Sarah. Jim Henson loved May’s contributions so much, he decided to start shooting after her edits had been made.
As the concept designer, Brian Froud was responsible for the overall look of the film and its characters. Each puppet was built from his designs, but Froud did not fully develop the characters because he felt that it would dampen the creative process. He wanted the creatures to develop beyond the page, and for the designers to have happy accidents in their creation.
Froud also helped design the costumes in the film. He worked closely with costume designer Ellis Flyte to further develop a complex fantasy world.
They decided to dress the baby Toby in a white and red striped onesie so that he would stand out in every scene. They had to invent a slimmed-down version of his diaper to make the costume look right, but this new version couldn’t hold in a lot of “mess” when he had an accident.
Sarah’s costume was designed to be timeless. The top is modeled after old-fashioned peasant tops, paired with contemporary jeans. The costumes were all meant to reflect several different eras and types of folklore, so the audience could apply the story to any time.
Jareth, the Goblin King, has several costume changes. His look changes as the film progresses, showing the feelings of the character in each scene. He is meant to look almost like a medieval knight, and a romantic lead. His hair was designed to be wolf-like, as wolves are often villains in many fairy tales. But, there were also influences from Japanese theater in his design. At one point in the film, he wears some armor. In another, he wears all white, to signify that he had lost his power. Jareth also carried around a “swagger stick” that also acted as a microphone!
In this film, the labyrinth itself is a character. Elliot Scott was the set designer tasked with creating both the complex world of The Goblin King, to Sarah’s American bedroom. The film needed to feel like a true voyage, and had to include several different unique spaces. Scott’s design really helped convey that.
Scott was a gifted production designer that also created the worlds of Indiana Jones and “Who Framed Roger Rabbit?”
Choreographers
Cheryl McFadden
Charles Augins
They got Charles Augins to help choreograph scenes such as Dance Magic Dance. They wanted the energetic movements that Charles choreographed so well.
The Labyrinth was another groundbreaking film with several complex characters and sequences. Let’s talk about some of the most impressive accomplishments of the film.
Hoggle is an incredibly important character in the film, as he acts as Sarah's reluctant friend and guide through the labyrinth.
The Hoggle puppet was considered to be the most complicated puppet ever created. He was performed by a total of five people, operating 18 different motors! One person was inside a suit (Shari Weiser) and four people on the outside controlling the mechanical head. The performers were together all the time during filming because it was important they remained in sync with each other. After doing the character for so many months, Brian Henson and the other puppeteers were almost able to improvise. Which is unusual for a puppet of this complexity.
Shari Weiser couldn’t see outside the suit and needed a monitor and camera. She apparently hated the system, and the camera in the chest was eventually removed. This meant that she could only see out when Hoggle’s mouth was open. Brian Henson had to come up with reasons to open the puppet’s mouth when Shari was about to run into things. He would often let out loud grunts and scoffs so she could see what was ahead of her. This became part of Hoggle’s character and charm.
Brian also performed the voice with the intention that his father was going to replace it, but by the end of filming, Jim said he was keeping Brian’s voice in.
Brian said that he never felt closer to his dad than when they worked on “Labyrinth” together. He was only 20 years old at the time.
As Sarah makes her way through the labyrinth, she falls into a shaft of green, arthritic hands. Terry Jones first came up with the concept of the hands, and Jim Henson called the scene, “bizarre and unusual.”
Jennifer Connolly described scenes like this as a personal amusement park where she got to experience all these cool “rides” even though she was very ticklish!
The shaft was 30 feet deep, filled with 150 pairs of foam latex hands, operated by 75 different puppeteers. In order to make this scene, they lined everyone up behind boards that were slightly diagonal, so the hands would show while their faces would stay hidden.
Jim Henson came up with the idea of the hands making faces to speak. He and some other puppeteers spent hours in front of mirrors, trying to create different ways to imitate faces with hands.
Another memorable piece of the labyrinth was the “Bog of Eternal Stench.”
Brian Froud was critical of the scene, thinking that the humor was too childish to be in the film. However, Prince Charles reportedly loved the bog of eternal stench, being the only one to laugh at it during the royal premiere of the film.
The water in the bog stayed stagnant long enough that it really was quite smelly! They had a stunt double stand in for Jennifer Connolly so there was no danger of her falling into the gross water.
In Jim Henson’s original notes, he wanted a giant that came out of the wall. It was one of the few original elements that made it into the final cut of the film. During the battle sequence in the final act, a huge monster comes forth from the wall, operated by goblins.
Brian really fought against the idea of a giant monster. So, he ended up making the creature come out of the door, because he did not want a straightforward puppet. He also designed it to look like goblins were operating him, so it was this incredibly advanced-looking technology, but in a very disarming and old way.
The monster was gigantic and mechanical, one of the biggest puppets ever created. It was operated remotely. The machine was real and could cause problems if not operated properly.
Polyurethane foam was used and painted to look like armour with the entire project taking 2-3 months to build.
Jim Henson knew that a climatic battle sequence would be the best way to get his characters to the doors of the Goblin King’s Castle.
The scene was not meant to be overly violent, as the goblin army is a hapless group, barely able to get their own weapons to work. One of these goblins was Star Wars actor Kenny Baker. In his sequence, a cannon doesn’t fire properly, causing his real-life costume to catch fire!
The goblin army is painted many different bright colors, red, green, orange, and blue. They also have numbers on their heads. This design was actually inspired by Thomas the Tank Engine characters!
Many of the goblins in this sequence are puppeteers in suits. They wanted every aspect of puppetry to be present, from suits, to mechanism, to hand operation. Like the rest of the film, the scene was incredibly complex.
Music
Jim Henson knew from the very beginning that he wanted a big star attached to the project. His son John was a big fan of David Bowie, and Henson noticed a certain other-worldliness to the entertainer. Bowie was immediately intrigued by the idea, and wanted to be able to write songs for the film that would appeal to all audiences. It was a perfect match.
The film’s score was written by Trevor Jones, with music and lyrics by David Bowie.
Opening/Underground
The film opens with an owl, created by Industrial Light and Magic. It was one of the first fully CG creatures to appear in film at the time, and looks a little dated now. The owl signifies the night, and eventually turns out to be The Goblin King in disguise.
Underground was the title track for the film, recorded in The Atlantic Studios in New York City around 2 in the morning.
The opening leads us to Sarah, as she acts out a scene in the park with her dog. We’re soon introduced to her home, and bedroom filled with influences for the story that will soon unfold.
Magic Dance
As Sarah has entered the labyrinth and makes her way toward the center, we see she is being watched by the cocky and spoiled Goblin King, from his hall filled with goblins. Then, Jareth sings an upbeat song with the baby, doing twirls in his more casual costume. David Bowie had trouble recording the song, because the baby in the studio wouldn’t make any noise. The baby sounds on the track were made by Bowie!
This scene was one of the first ones filmed. The set had to have several holes within the walls to accommodate and hide the puppeteers. Brian Henson said that the set looked like Swiss Cheese. They were almost worried it would fall apart.
In addition to the puppets there were actors that were on wires jumping around to bring more motion.
The song represents the carefree nature of the Goblin King, and his disregard for what he’s done. It also shows off the silliness of the goblins, characters that try to be evil, but just can’t seem to pull it off.
When asked about Jareth, Bowie said, “I think Jareth, at best, is a romantic; but at worst he’s a spoiled child, vain and temperamental--kind of like a rock n roll star!”
Chilly Down
During Sarah’s journey, she encounters a group of Fireys! These are brightly-colored bird-like creatures that live in the forest. At first, she is disarmed by their free-spirited song and dance, but the scene quickly turns dangerous when they want to see if she can remove her head, the way the fireys can remove theirs.
During this scene there are several Firey characters that dance around, bounce their heads, and remove their hands. These characters were modelled directly after drawings by Brian Froud. Even in the drawings their movements were wacky and strange. The team decided to take this and bring it on screen. The rehearsals with these characters informed them a lot. A lot of experimentation was done and each time it changed the configurations and movement of the characters.
Since the Firey’s were able to unattach their heads, multiple puppeteers were used to create one Firey. The characters were shot on black velvet with the puppeteers covered from head to toe in black velvet as well. The characters are brightly colored to stand out against the black screen that they were filmed in front of and they were meant to look like traditional muppets.
Visual keys were done to match the lyrics. One example:
When they say “I shake my pretty little head” their heads are removed and bounced around.
This was the first song recorded by David Bowie for the film.
As the World Falls Down
After Jareth convinces Hoggle to give Sarah a poisoned peach, she finds herself at a costumed ball. This scene is absolutely vital in showing Sarah’s progression from a sulky teenager to a young adult. It’s an abrupt transformation, as she’s transported from her regular clothes to a beautiful ball gown, and surrounded by confusing and unfamiliar faces. She gravitates to the only face she recognizes: Jareth, and the two engage in an almost trance-like dance.
The scene meant a lot to Jim Henson personally, because he was able to apply his own emotions as a father of teenage girls, watching them mature into adulthood.
For this scene, the filmmakers tried to create an adult world that Sarah would be simultaneously attracted to and repulsed by, because she’s in that stage between childhood and adulthood.
This adult world was inspired by Venice and is set vaguely in the 18th century. The entire set was supposed to seem as if it existed in a bubble, preserved from the rest of the world.
They took 10 days on this scene and ended up needing more people to fill the room. This caused the costume department to scramble for several more costumes in just a few days.
Although Sarah’s character is becoming an adult, Jennifer’s parents were worried about her growing up too much in the scene. So the hairdressers were sure to make her hair not seem too adult; they simplified her design and gave her natural references in her hair.
The scene was Jennifer Connolly’s favorite to shoot because of the costume, and the thrill of dancing with David Bowie.
Jim Henson asked Bowie to write a more traditional song for the scene, and Bowie felt that it was prettiest and most relaxed tune in the film.
Within You
With the help of her friends Hoggle, Ludo, and Sir Didymus, Sarah finally reaches the center of the labyrinth and must face The Goblin King. As she heads inside, she turns to her friends and tells them that she must face him on her own. The scene was meant to drive home Sarah’s maturity, but also paid homage to the classic fairytale or hero’s journey, as our hero must face their final battle alone.
Sarah’s friends have grown with her, an idea that Jim Henson especially liked. He loved the concept that we were all connected and have a responsibility to each other.
Sarah must now chase down her brother through a complicated mess of staircases, inspired by an MC Escher painting. For this scene, the crew built a complicated set that seemed to defy logic, one that really made you question what was up or down.
Jim Henson wanted the stairs as a way to depict the meeting of real danger and the surreal nature of Sarah’s imagination. The story is never clear as to whether or not all of this happens in Sarah’s mind, and this scene illustrates that completely.
For the scene, Jim Henson wanted to put baby Toby up on a tower, but Brian Froud and his wife were too scared to let them shoot it. Both of them were afraid of heights and they did not want their baby so high.
Although it looks like Toby is lost in the complex riddle of the stairs, he was actually just climbing up one or two steps off the floor the entire time. Family members stood around, calling his name and playing music to get him to look and crawl in certain directions.
This song was David Bowie’s personal favorite from the film. He said, “I had to write something that sounded like stone walls and crumbling power; and the all-over effect, with Jim’s visuals, is, I think, very tragic and slightly disturbing.”
Underground
In the final sequence that Sarah shares with Jareth, he’s dressed in white. He looks pale compared to his other moments, like he’s lost his power. He looks this way because he knows that he’s already lost, that Sarah has all the power. He pleads with her because he really is smitten with her and how strong she has proven herself to be. Jareth is lonely. The only companions in his life are those that he controls. But Sarah would be different because Sarah has the power to leave, even if she didn’t realize it until this moment.
At the beginning of the film, Sarah was memorizing the lines from a play. She couldn’t remember the final lines, and she struggles to recall them now. She ignores Jareth, and a look of realization crosses her face. She remembers something she knew all along, a fact that seems so obvious to her now, if only she had remembered sooner. She looks at Jareth and says, “you have no power over me.”
The words are enough to destroy Jareth’s hold on Sarah, as words were the thing that gave Jareth any power at all in the beginning of the film. Sarah didn’t earn or fight for her power. It was always there.
This was Bowie’s favorite scene to shoot. He said, “It’s so sad, I think, because Sarah really likes Jareth, but she must get her baby brother, Toby, back safely, so she has to reject all of Jareth’s pleas for companionship in his pretty lonely world.”
After Sarah returns to her room, she sees her friends in the mirror. They tell their heartfelt goodbyes, and Sarah tearfully tells them that she needs them. Then, the characters all appear, goblins and Fireys alike, to dance together.
Brian Froud disliked the scene. He felt it was unnecessary and cheapened the ending of the film. But, he said he was happy to be proven wrong, as many people liked the addition of this happy scene.
Underground then plays as the credits begin to roll.
Starring
Jennifer Connelly as Sarah
Jennifer Connelly began as a model before acting. She was not sure what she wanted to be when she grew up, maybe a vet or carpenter but she kinda fell into acting.
Since this movie she has been in several things such as Requiem for Dream, A Beautiful Mind, and Spiderman: Homecoming.
It was the first time Jennifer was ever in England and she said the whole experience was fun for her.
Jim Henson was supportive and very kind to her. He did not have to talk down to her or tiptoe around her feelings. Many members of the team even remarked how mature and professional she was at the young age of 14.
David Bowie as Jareth
Bowie was a singer-songwriter that would also appear in movies. Some of these were UHF, The Prestige, and Twin Peaks: Fire Walk with Me.
Michael Moschen was the amazing performer behind David Bowie, juggling the balls.
He was working blind behind Bowie and so every time they had to do several takes.
Toby Froud as Toby
Toby is actually Brian Froud’s son!
He was influenced by what his father did and things like this movie and so he is now a special effects designer, puppeteer, filmmaker, and performer.
Shelley Thompson as the Stepmother
Shelley is most known now most for her character in Trailer Park Boys as Barbara Lahey.
Christopher Malcolm as the Father
He was in things like Highlander, Star Wars: The Empire Strikes Back, and Never Say Never Again.
Shari Weiser as Hoggle
Shari was often a suit performer and was in Babes in Toyland(1986), Follow that Bird, and Mr. Willowby’s Christmas Tree.
Brian Henson as Hoggle/ Goblin (voice)
Brian was about 22 when this movie was made. He has continued on his father’s legacy and is an amazing puppeteer, director, and technician in his own right.
Ron Mueck as Ludo(one of the two that would switch off in the costume)/ Firey 2/ Goblin (voice)
He is an amazing sculptor. His sculptures are very lifelike and have a huge scale. He also voiced a character in The Tale of the Bunny Picnic.
Rob Mills as Ludo(the other that would switch off in the costume)/ Firey 3
He worked for 12 years with Jim Henson’s puppet studio and even started a couple of his own production companies.
Ron Mueck was the main actor within Ludo, but since it is such a heavy and difficult character Rob Mills would sometimes take over.
These actors would control Ludo by using one arm to move his head around and one arm to control one of the creature’s arms. Ludo’s second arm hung by itself. Inside with the puppeteer, whether it be Ron or Rob, were two video screens strapped in so they could see what the camera was filming and where they were heading. For a little extra visibility there was also mesh that they could see through, hidden in fur on Ludo’s chest.
There were two Ludo heads, one that had a smile and one that had a frown. Both of these heads were animatronic like Hoggle’s and required three people to control. The three people that contributed to this were Francis Wright, Sue Dacre, and Donald Austen.
Jim Henson came up with the idea of Ludo communicating with rocks. He liked the idea of creatures communicating with nature.
Dave Goelz as Didymus / The Hat / The Four Guards / Left Door Knocker / Firey 3 (voice)
We mentioned Dave Goelz in the last episode as well and has been with Jim Henson’s Company for a long time now and has even voiced the new series Muppets Now on Disney Plus.
There were about 4 different Didymus puppets.
Didymus is part fox and part dog in an Elizabethan costume that guards the bridge.
The first Didymus was essentially a hand puppet, but a little more complicated. In the left hand of the character is a rod that is used as a prop for Didymus, but it is also a clever disguise to assist in control of that arm. Karen Prell aided in controlling the right arm while Dave controlled the mouth and left arm. From afar other puppeteers controlled the eyebrows, eyes, and ears.
In the shots where it is just Didymus’s legs a marionette was used and controlled by David Barclay.
The third was a radio controlled Didymus that was strapped onto a live sheepdog that was playing Ambrosius.
The fourth was a Didymus that was connected to a dog sized puppet where Dave Goelz hand would go up through the dog to get to Didymus’s mouth.
Kevin Clash would then control the movements of Ambrosius.
Awards/ How it was Received/Impact
The Labyrinth opened at number eight in the US box office charts with $3.5 million, putting it behind other films such as Ferris Buller’s Day Off and Top Gun. During its next weekend, the film dropped to number 13 only earning another $1.8 million. By the end of its run, it had grossed $12.7 million, just over half of its $25 million budget.
According to Variety, it also made another $12 million overseas which would still just fall short of the budget.
The film received mixed to positive reviews from critics. It currently sits at a 73% from critics on rotten tomatoes and 86% from audience scores. The general consensus from critics is that while the Labyrinth is most interesting on a visual level, it provides further proof of director Jim Henson’s boundless imagination.
Labyrinth was nominated at the British Academy Film Awards for Best Special Visual Effects and received two Saturn Award nominations for Best Fantasy Film as well as Best Costumes. Lastly it was nominated for the Hugo Award for Best Dramatic Presentation.
The film is ranked 72nd on Empire's “The 80 best ‘80s movies’ and 26th on Time Out's "The 50 best fantasy movies". In 2019 The Telegraph named it as one of "The 77 best kids' films of all time". (Two British publications.)
Despite its poor performance at the box office, Labyrinth was a success on home video and later on DVD, and has become a cult classic.
Brian Henson remembered his father as being aware that Labyrinth and The Dark Crystal both had cult followings by the time of his death in 1990, saying, "he was able to see all that, and know that it was appreciated."
This movie continues to be a classic beloved by many. In 2017 McFarlane Toys made a special collectible Jareth the Goblin King figurine and in 2019 made a special Dance Magic Jareth!
Much like the name of the film suggests, the Labyrinth takes the audience on a wild and remarkable journey, with confusing sequences and strange visuals. Like the classic fairy tales on which it was based, it’s a timeless story that can appeal to every generation. This film is rich with visual metaphors, telling a deeply personal story that audiences everywhere can relate to.
Afterall, life is a labyrinth. We’ve all ventured into the twisting walls of the unknown, gathered our friends, lost our way, and fought our own Goblin King. To many of us, this film is a guide that reminds us we’re all on our own strange and magical journeys. And if ever we should need it, we know where to find it.
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Sources:
https://www.latimes.com/archives/la-xpm-1986-06-26-ca-21515-story.html
https://www.wabe.org/inside-the-puppets-of-labyrinth-a-talk-with-brian-henson/
Jim Henson: The Biography by Brian J. Jones