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.

So it's Rosemary Clooney - Rosemary? Rosemary Clooney, right? The singer? Yes. Clooney, doing, singing, "I've Grown Accustomed To Your Face," which is, you know, really a love song, but what we see on stage is we see one puppet that's got a ridiculous blonde wig on and she looks ridiculous, and next to her is a head that's just a piece of fabric with a pretty face on it.

And again, we're kind of trying to be in that place, that's just so absurd and irreverent and hysterical and it's something that at our company we're kind of, we're so irreverent about everything, we're sort of irreverent about the establishment, we're irreverent about civilization, we're irreverent about philosophy, we're irreverent about religion.

I guess I learned a couple of good lessons from my dad. One was when you're creating something, what you want when you're working with a team of other artists, is everybody to work with some creative freedom, so that you really get the best out of everybody.

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

But the fact that most of the show you can't be prepared for, you have no idea really what's coming is initially very nerve wracking, by now, it's kind of fun.

I try to emulate his approach of really get the most out of people by allowing them to experiment and certainly allowing people to make mistakes.