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.

Really, initially what I very quickly realized that I was loving about the show was, because it reminded me of when I was a kid and I would visit the sets where my dad was shooting with the other puppeteers.

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."

I was 17, certainly by the time I was 19, I knew that show business was where I was going to end up, and I had my sights on being a director.

To anyone who's trying to be an artist, in any medium, it's a very odd and lonely and nerve-wracking and scary process when you let anybody see what you're working on. You have to learn to listen to your instincts. Absorb other people's advice, opinions, or whatever it may be from the outside world, but at the end of the day, you have to be true to whatever it is that you're trying to say in that work.

In many ways, I think it's easier in some ways, or it's more entertaining or more guaranteed to be entertaining than traditional improvising. Again, because you're not just you in your body.

We wanted to premiere it in New York, because New York is sort of the home of the Jim Henson Company and it's sort of the tone and flavor, always, of the puppet work that we've done traditionally. And that's what brought us here and now we're here.