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.

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.

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.

I was already sort of mixing my science physics enthusiasm with entertainment and directing and puppetry.

And then after the success at Melbourne Comedy Festival, then we regrouped back in LA and we went back into workshopping and decided to develop a proper show and that's when we started working on "Stuffed and Unstrung," which is a much bigger and sharper version of "Puppet Up."

People would say to him, "When you finish a movie, did it come out as good as you thought it was going to?" Or, "Did it come out the way you intended it to come out?"

And if the audience is in a kind of naughty, raunchy mood, then they're going to make naughty, raunchy suggestions and then we take them and we do the scene anyway, and that's part of the fun.