You get used to it, you look forward to the adrenaline of the stage fright before you go out.

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

And one of the funnest things was watching what they did before the director called action and after the director called cut. And they'd keep their hands in the puppets, they'd stay in character, and then they'd start goofing around with each other and be off of script, and it would get quite blue.

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.

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.

But if everybody's trying to stay safe, then you never really create something new and different and surprising.

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