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.

So while you're trying to improvise, you're also trying to puppeteer, you're doing everything that you need to do to perform a puppet in our style, for a camera.

Patrick thought we should try to put an audience in front of one of the workshops, basically in front of the class and see how the performers rose to having an audience there, because he said, "You know, it's a really interesting test, because sometimes it gets even funnier."

This is certainly the raunchiest, if you use that word, raunchy. The roots of Jim Henson, though, was adult comedy.

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.

"Stuffed and Unstrung" started as a workshop, actually, classes within our company. We found that our puppeteers were not ad libbing as well as traditionally, Jim Henson Company puppeteers have. We're sort of famous for going off script a little bit and ad libbing.

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.