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."

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.

We're also irreverent, we have an irreverent attitude towards puppets, as well. So a lot of what we do is we're kind of making fun of the puppets for being puppets, even while we're doing it. And again, that all feeds into the absurdity of this show.

I'd say that that is a challenge, but it also is, again, it's helpful. It's helpful to have the discipline of, okay, I'm doing, I'm doing something that's quite precise over here, working the puppet, and I'm doing something that's very imprecise and creative and unleashed over here, which is the comedy side. And it's kind of nice to allow your brain to be doing those two things at once.

Probably though, by the time I was 17, I already knew that I was probably going to go into film

There was a producer from the Aspen Comedy Festival who happened to be there, as a friend of a friend, and she said, "I'd like to book you into the Aspen Comedy Festival," and we said, "Well, there isn't really a show to book in, this is just a little showcase and it's really our workshop." And she said, "No, it's great, I love it, just do exactly what you did."

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.