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.

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.

We try to keep it a classy show, but it certainly is blue at times. And it all depends on the audience, sometimes we've have audiences that don't really want us to go too far in that direction.

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.

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.

The show is probably 60 percent improvising and 40 percent not. So there's quite a bit of it that we do have prepared and that part of it, you have memorized and you've rehearsed and you're prepared, just like any show.

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.