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.

The challenge is, well, there's a huge challenge, which is when you're improvising, you're meant to sort of clear your mind completely, just be open and funny, and paying, you know, paying attention.

But curriculum-wise, I was drawn to the sciences and specifically to physics, and I really enjoyed it and I think for a little while there, I was really thinking my schooling would be in physics, that that was something I loved.

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.

There was a producer from the Aspen Comedy Festival who happened to be there, as a friend of a friend, and she said, "I'd like to book you into the Aspen Comedy Festival," and we said, "Well, there isn't really a show to book in, this is just a little showcase and it's really our workshop." And she said, "No, it's great, I love it, just do exactly what you did."

Where does a character come from? Because a character, at the end of the day, a character will be the combination of the writing of the character, the voicing of the character, the personality of the character, and what the character looks like.

A puppet that starts to improvise badly is almost funnier than the puppet that's improvising well. So the show gets better when the improvising is really good, but also the show can also sometimes get better when the improvising sort of goes a little wrong and that's sort of a blessing to improvising with puppets.