Hi All! I was also an extra pair of hands on "The Muppet Movie" rainbow scene, and while my story is similar to "Ernie's", I thought I would offer my own recolections. At the time (1978) I was coresponding with Jim Henson. He wasn't so busy back then that he couldn't drop me the ocasional personal note. His mail was handled by a personal assistant, Lynn Klugman (you see her name in the end credits of the film) and I got to know her pretty well also. When I heard the film was to be shot out here, I got up the nerve and called the studio. Lynn checked with Jim, called me back and said "Jim would LOVE to meet you!". For an 18 year old puppeteer and Muppet fan, you can imagine my reaction. Also a fan of Hollywood history just being on lot was a thrill. Not only did I find the old "My 3 Sons" house, the "Gunsmoke" street and Gary Cooper's sherriff's office from "High Noon", but I even found the exterior for the "El Sleezo Cafe'"! I got to spend about half a day on set, watching them shoot the screening room scene, from Dog Lion tearing out the seat right down to the paper airplane getting caught in Sam Eagle's wing (a blooper left in the film!). It was strange seeing the now empty "Sleezo" set directly behing The Sweedish Chef's projection booth! Although I finally got to meet Jim, he actually apolgized to me for not having any time to talk, and suggested I come back on a slower day for him. Back I came a week or so later only to find myself on the old "Mary Tyler Moore" stage and a cabin set of a mad scientist! It was Mel Brooks-one of comic idols, along with the great Charles Durning! Jim spent most of the morning actually sitting with me and giving me a crash course in Muppeteering! When it came time to prepair for Kermit and Piggy's close-ups (there were "tied up" at the moment!) guess who's arm was used to block the scene while the final camera and lighting adjustments were made? Jim asked me back for a few more days to help them with this kind of blocking, but because I was so young, non-union, and lacked a lot of on camera puppeteering experience, I was never able to actually contribute to a scene, until one day... "You're finally going to get your chance to puppeteer with us!" was Lynn's words to me by phone! A few days later and I was back on the screening room stage once more (this time the "Sleezo" was replaced with the log cabin where Kermit and Piggy had dinner) with all the Muppet Perfomers, every professional puppeteer in Los Angeles, and just about every Muppet ever made! I knew I would be lost in this crowd, and wanted to be sure to see work on "the big screen", so while assigning parts, I made my way over to the "Big Guys" unit hoping to be given Fletcher Bird or maybe even Timmy Monster. No such luck, and I was shuttled off to Sesame Street, which worked out a lot better. First I was given 2 character to perform-Little Bird and Momma Twiddle Bug, and my position on set was to the extreme stage left (or the very right side of the screen). Even though due to the shot, my characters were omong the last to come into frame and the first to be lost (with Sweetum's tear-through the movie scrren), a very obvious bit of bright yellow on a black background can be clearly seen in the film. My work was also seen in two Muppet photo books and the ViewMaster reel of the film-not bad! We got a total of $78.00 and a chicken dinner (paid for by Mr. Henson) for about 14 hours of work all for 43 seconds of film. But the perks were incredible! Imagine getting to try nearly ever Muppet built-from Bert to Wendel Possum, from King Ploobis to Cookie Monster! Imagine having lunch in the Muppet office along side of Frank Oz, Jerry Nelson, Richard Hunt and Dave Goelz. Imagine getting Miss Piggy a new glass of soda water when she clumsily broke her's during a still shoot with Mel Brooks ("Oh, thank you dear.."), or meeting a young lady on her very first ever puppeteering job ever-by the name of Kathryn Mullen. Imagine seeing Uncle Deadly picking his nose between takes (not kidding), Big Bird's head on a shelf, and his legs 10 feet away (YIKES!), Kermit getting his collar sewn on, or a headless, naked Miss Piggy! Imaging actually working the REAL Kermit The Frog, sharing an elevator with Frank Oz, seeing Fozzie Bear getting new eyes glued on-while two more Fozzie clones sat on either side! Imagine meeting Kermit's "swamp creature" friend-a character from a scene cut from the film! Imagine posing for a Nancy Moran "official group portrait" or having James frawley insisting on meeting you because "he wants to know everyone on his set". Imagine seeing a box full of "Muppet Movie" t-shirts, jet black with the film logo in a rainbow hologram on the chest being sent off to who knows where, and not getting one-or ever seeing one again. Imagine making up for it by collecting a pocket full of real Big Bird feathers for souveniers! The best memory I have was during the dinner break. I was exhausted and fooling around with one of the Muppet frogs. I must have looked really tired, 'cause Jim came up behind me and as he did for so many others, put his hand (THE hand!) on my shoulder and asked "How ya doing old man?". His concern for everyone one the set-even me was astounding. I've heard back from so many who were there that day and they all say the same thing. It was a magic time.