And my dad's answer would be usually something to the affect of, A, it came out better than he imagined, but also, he said, "No, it would be impossible for me to imagine the way it will come out." He said, "Yes, I story-boarded it, I had a plan, but then I work with an army of great artists and I want all of them to create inside that creation."

So that's the challenge, you have a big technical aspect of what you're doing whilst you're creatively trying to improvise.

A puppet that starts to improvise badly is almost funnier than the puppet that's improvising well. So the show gets better when the improvising is really good, but also the show can also sometimes get better when the improvising sort of goes a little wrong and that's sort of a blessing to improvising with puppets.

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.

My dad and mom were, they would take what were popular hits, and lip-sync to them with puppets and do a ridiculous story.

But initially when I was working with my dad, it was in special effects puppets with radio control and motors and puppet effects.

he puppeteers really responded to it. Patrick Bistrow really responded to it, it's great fun to do improve comedy with puppets.