It was actually what my dad did and with the Muppets, the years with the Muppets, it was really all targeted to adults. It was in a time when everything had to be safe for the whole family. But he was targeting adults.

I was 17, certainly by the time I was 19, I knew that show business was where I was going to end up, and I had my sights on being a director.

I guess I learned a couple of good lessons from my dad. One was when you're creating something, what you want when you're working with a team of other artists, is everybody to work with some creative freedom, so that you really get the best out of everybody.

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

And it should be something that only that group of people could've made with everybody invested.

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.

There's an awful lot of scenes where we don't know what the scene's going to be about, we ask the audience, pick a place that the scene is happening, pick the relationship, tell us who they are, things like that.