"We just enhance the eyes, a quiver of the mouth, the eyes fluttering a little bit, glossing over. But it's still the glass eye of the puppet, it's still the skin of the puppet, we move it just slightly, and that made a huge difference. The limits I set were that it cannot be better than what you could do with an amazing animatronic puppet with lots of motors and stuff."

“here was a whole bunch of elaborated ideas from Jim Henson and Frank Oz, the story that led to the movie, and that stuff was so interesting to me that eventually I was like, you know what? I'd like to take a look at what happened before the movie. It's such a big canvas that it might not even be a movie, it might be a series.”

“We need to serve the fans. But also, we need to create new fans. Kids these days haven't seen puppets. They've seen fuzzy puppets. They haven't seen puppets that look like this. This is quite different. It's quite scary. There's a lot of action, a lot of drama, a few deaths. So, a lot of that stuff, it's multi-generational, but it definitely brings in everything you know about The Dark Crystal.”

“I love CGI, but we’re not using CGI in this one. Puppets, man. Puppets!”

“The Dark Crystal is a movie I saw a little too young, it shocked me a little bit and never left my mind.”

“In every scene at least I want to do something that has never been done with a puppet. I was coming up with some ideas and concepts, doodles for how the puppets could do these things. I want to see a puppet swim, I want to see a puppet crashing through water, I want to see it run, I want to see it jump.”

“My challenge was working with puppets, but their challenge was working with Louis Leterrier. I was non-compromising, "this will not look like your grandfather's puppet show, and this will look like The Dark Crystal, that broke the mould then, so let's break it again and bring puppetry as far as it can get", and that's really what we did.”