I try to emulate his approach of really get the most out of people by allowing them to experiment and certainly allowing people to make mistakes.

I think it's a lot richer than what we call fleshy improv, I think it's very funny, puppet improv and fleshy improv.

And that was always my father's favorite part about shooting as well. Often my dad would shoot very, very late, he was quite a workaholic, they would do 20, 20-hour shoots and stuff like that.

So while you're trying to improvise, you're also trying to puppeteer, you're doing everything that you need to do to perform a puppet in our style, for a camera.

It's actually good when the performers are nervous, because it kind of sharpens up your brain and a little bit of adrenaline is good. Initially it's really tough.

And so as a director, as a leader, and myself as a director and a leader, I kind of try to make sure that we hold onto the vision and kind of corral it, but by the time you finish whatever the project is, a TV show, a series, a movie, a stage show, it should be a product of what all those people can do, and therefore, it can never be what you imagined it would be in the beginning.

But curriculum-wise, I was drawn to the sciences and specifically to physics, and I really enjoyed it and I think for a little while there, I was really thinking my schooling would be in physics, that that was something I loved.