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.

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

And that was always my father's favorite part about shooting as well. Often my dad would shoot very, very late, he was quite a workaholic, they would do 20, 20-hour shoots and stuff like that.

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.

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.

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.

It's really great to do one piece, "I've Grown Accustomed To Your Face," my dad developed in 1956, when he was 20 years old, and it's great to do that piece again now and see that it still really works as well as it ever did.