But curriculum-wise, I was drawn to the sciences and specifically to physics, and I really enjoyed it and I think for a little while there, I was really thinking my schooling would be in physics, that that was something I loved.

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.

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.

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 in a creative effort, in any creative effort, you need to, people need to be able to be taking risks and if it turns out to be a mistake, if it turns out not to have been the right choice, that should be applauded, you know, by everybody, and it will come up with another plan.

We took a show to the Aspen Comedy Festival, called "Puppet Up" at that point, and in Aspen we just did three shows, and in Aspen, there was a producer from the Edinborough Fringe Festival, who said, "Please come to Edinborough."

And my dad's answer would be usually something to the affect of, A, it came out better than he imagined, but also, he said, "No, it would be impossible for me to imagine the way it will come out." He said, "Yes, I story-boarded it, I had a plan, but then I work with an army of great artists and I want all of them to create inside that creation."