And one of the funnest things was watching what they did before the director called action and after the director called cut. And they'd keep their hands in the puppets, they'd stay in character, and then they'd start goofing around with each other and be off of script, and it would get quite blue.

But if everybody's trying to stay safe, then you never really create something new and different and surprising.

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

We try to keep it a classy show, but it certainly is blue at times. And it all depends on the audience, sometimes we've have audiences that don't really want us to go too far in that direction.

And it was a whole lot of fun, and in many ways, what we've done with the show is just taken that part of my early memories of visiting my dad, shooting with the Muppets, and taking that and making a show that's really an expansion of that and presenting a show that's all that.

The first big thing that I did with my dad was the bicycle sequence in "The Great Muppet Caper," where Kermit and Piggy are riding bicycles in Battersea Park in London and that was a complex marionetting and cranes driving through the park, it was a complicated scene, and I did that with my dad.

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