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.

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.

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.

Oh, well, I can't tell you; it would be telling you the end. It's a one-character lip-syncing because in the early days, that's what my dad was doing.

Probably though, by the time I was 17, I already knew that I was probably going to go into film

he puppeteers really responded to it. Patrick Bistrow really responded to it, it's great fun to do improve comedy with puppets.

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.