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?"

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.

"Sesame Street" was really the first kid's show that my dad did. He did a couple of TV specials that were targeted for kids before "Sesame Street," but really, it was, it's kind of going back to our roots, when we start to get adult. This show gets very adult sometimes, and that's because of the audience.

First of all, you're improvising through a puppet, so you're not always yourself: you're a cow or you're a pig or you're an old woman, you know, whatever puppet you pick, or you're a demon, you know, whatever you pick up, that's what you get to be in the scene.

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.

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

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.