A puppet that starts to improvise badly is almost funnier than the puppet that's improvising well. So the show gets better when the improvising is really good, but also the show can also sometimes get better when the improvising sort of goes a little wrong and that's sort of a blessing to improvising with puppets.

And with puppets, especially in our company, we sort of demand a very high standard of puppetry, so it's a real technical skill.

And then after the success at Melbourne Comedy Festival, then we regrouped back in LA and we went back into workshopping and decided to develop a proper show and that's when we started working on "Stuffed and Unstrung," which is a much bigger and sharper version of "Puppet Up."

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?"

"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.

And it should be something that only that group of people could've made with everybody invested.

I thought, well, if we're inviting an audience, let's do it right. So I put in a proper studio audience at our studios in Los Angeles and it was just a little showcase and it was just for fun.