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.

And so as a director, as a leader, and myself as a director and a leader, I kind of try to make sure that we hold onto the vision and kind of corral it, but by the time you finish whatever the project is, a TV show, a series, a movie, a stage show, it should be a product of what all those people can do, and therefore, it can never be what you imagined it would be in the beginning.

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

To anyone who's trying to be an artist, in any medium, it's a very odd and lonely and nerve-wracking and scary process when you let anybody see what you're working on. You have to learn to listen to your instincts. Absorb other people's advice, opinions, or whatever it may be from the outside world, but at the end of the day, you have to be true to whatever it is that you're trying to say in that work.

The show is probably 60 percent improvising and 40 percent not. So there's quite a bit of it that we do have prepared and that part of it, you have memorized and you've rehearsed and you're prepared, just like any show.

The challenge is, well, there's a huge challenge, which is when you're improvising, you're meant to sort of clear your mind completely, just be open and funny, and paying, you know, paying attention.

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