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.

At that point, I thought probably special effects, something like that, and indeed, the early days when I was working with my dad, after I left school, I only went to less than one year of college, and then I was transferring, and then I delayed my transfer, and I did a movie, and then another movie, and then I never finished college.

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

We're also irreverent, we have an irreverent attitude towards puppets, as well. So a lot of what we do is we're kind of making fun of the puppets for being puppets, even while we're doing it. And again, that all feeds into the absurdity of this show.

But initially when I was working with my dad, it was in special effects puppets with radio control and motors and puppet effects.

So while you're trying to improvise, you're also trying to puppeteer, you're doing everything that you need to do to perform a puppet in our style, for a camera.

So it's Rosemary Clooney - Rosemary? Rosemary Clooney, right? The singer? Yes. Clooney, doing, singing, "I've Grown Accustomed To Your Face," which is, you know, really a love song, but what we see on stage is we see one puppet that's got a ridiculous blonde wig on and she looks ridiculous, and next to her is a head that's just a piece of fabric with a pretty face on it.