Director-producer Ron Howard has notably diversified into the documentary realm with such work as The Beatles: Eight Days a Week–The Touring Years (2016), Pavarotti (2019) and We Feed People (2022), which spotlighted renowned chief José Andrés and his nonprofit World Central Kitchen which evolved from a group of grassroots volunteers to one of the most highly regarded humanitarian aid organizations in the disaster relief sector. Sandwiched in-between Pavarotti and We Feed People was the 2020 release Rebuilding Paradise, Howard’s first vérité documentary, which centered on the community of Paradise, Calif., as it looked to recover, clean up and rebuild after being ravaged by a wildfire in November 2018 that killed 85 people, displaced 50,000 residents and destroyed some 19,000 buildings.
Known primarily for his endeavors spanning scripted TV (Genius: Einstein as producer-director; Arrested Development as a producer) and theatrical features (directing Apollo 13, Frost/Nixon, Cocoon)–including earning Best Director and Best Picture Oscars for A Beautiful Mind–Howard now continues his deep dive into documentaries with Jim Henson Idea Man (Disney+), taking us into the life and mind of a creative visionary–from his early years puppeteering on local TV to the worldwide success of Sesame Street, The Muppet Show and beyond. With unprecedented access to Henson’s personal archives, Howard sheds light on a man driven to create, gifted with boundless imagination and energy dating back to his upbringing in rural Mississippi. We learn of the role played by his wife Jane who in her own right was a creative pioneer. Their marriage was one that flourished only to eventually crumble–but with a strong sense of family still intact as we hear from their children, close friends and working colleagues.
Asked how this string of documentaries, including directing and producing Jim Henson Idea Man, has informed his overall filmmaking, Howard shared, “It’s been fascinating,” adding that the documentary discipline has “influenced my scripted work across the board,” changing in particular his perspective in postproduction on material that’s been shot. Howard explained that he’s “looking at the footage more for what we can discover as you would in a documentary, when you’re trying to find ways to express something you don’t have the quote for or don’t exactly have the shot that tells the audience what you want to convey.” You’re forced, he continued, to seek out other interesting ways to achieve what you set out to do. “I approach postproduction on scripted material in a little more exploratory kind of way,” considering the use of text, still photographs and other elements, the way the music works, in ways “I wouldn’t have thought to do in the past.”
Howard further observed that documentary filmmaking has impacted his POV on actor performances, noting that there are certain moments he’s directed a little differently now that he has sensibilities honed on the documentary side. He’s become more cognizant of and studied more intently “the way people say things, react under pressure, deal with emotions and things like that.”
Working in documentaries, he noted has also simply been “fun” in that “the people who make documentaries full time are great to hang out with. They’re smart, dedicated people with these curiosities that drive them to all corners of the Earth. They’re a lot of fun to be around, with a great energy.”
By extending his creative reach into documentaries, Howard noted that he’s “following the lead of people like Martin Scorsese, Spike Lee and Jonathan Demme–other directors who’ve worked well in both mediums for a long time.” Now, related Howard, “I understand why. I understand the attraction.” At the same time, there’s a common bond between scripted and documentary fare. “Scorsese says ‘it’s all storytelling anyway,’” affirmed Howard.
As for Henson’s story, Howard said, “Jim’s spirit, his aesthetic, sensibility, the body of his work definitely influenced the way we approached the documentary. We wanted to infuse it with his sort of kinetic, experimental approach, and his sense of humor as much as we possibly could.”
Howard noted that if the documentary were just a celebration of The Muppets and Sesame Street, that probably would not have been enough to draw him in. But upon meeting Henson’s family and seeing the role that family played in his prolific career, learning how influential that wife Jane was, how he used the new tech of his time, television, in an experimental way, Howard was hooked. To tell the story of this prodigy coming out of Mississippi was too delicious an opportunity to pass up. Henson’s story, said Howard, was “full of surprises” and “full of laughs.” In reviewing the archives, Howard recalled that even non-Muppets stuff was “cracking me up.” Howard added, “You recognize Jim’s wit, sense of satire and the way that informed ultimately The Muppets. It’s a huge reason why we love them and they hold up so well.”
Howard found it gratifying that the documentary brings Jane front and center. Jim and Jane Henson’s relationship was complex and had it share of irony. On the latter score, Howard observed that the thing that pulled them together romantically and helped make them a couple was also what to some extent pulled them apart–the ongoing evolution of The Muppets and what they could be. Yet even at that, Howard noted that Jim and Jane set a great example throughout the course of their relationship–particularly the way they comported themselves even through the dissolution of their marriage. They leave behind a family who loves them both, who honors their memory. “They’re all connected,” pointed out Howard.
Howard regards Henson’s experimental short film, Time Piece, as quite telling. Howard described it as “literally biographical.” The film has Henson racing against time in funny, interesting ways, trying to understand the world, dealing with myriad feelings while fully realizing that time was ticking away. Howard said that Henson was spiritual, connected, didn’t fee a lot of stress about the afterlife and why we’re here. “He rolled with all those punches. Yet this other part of him felt like time was running out when there was so much more he wanted to see and do.”
Howard felt the pressure of making a documentary about Jim Henson. It was akin to what the filmmaker experienced when he took on The Beatles documentary. Both Henson and The Beatles have fans who are vigilant and caring, meaning that Howard better not mess up when it came to telling their stories. While maybe to a slightly lesser degree than the Beatles documentary, the pressure was still considerable and most evident when it was announced that Howard would be at the helm of a film about Henson.
At the same time he made Jim Henson Idea Man, Howard was working on an edgy true crime thriller from 90 years ago that took place in the Galapagos Islands. This mix of projects, quipped Howard, translated into what he characterized as “a schizophrenic year and a half” for him creatively.
As for what his biggest takeaway is from Jim Henson Idea Man, Howard singled out “the value of relentless experimentation and exploration of the medium. The results are what they are but the journey of testing yourself creatively, engaging with collaborators and trying to push the boundaries of what you can offer creatively is inspiring. I really admired that about Jim. I would like to think that I try to live in a similar way.”
