We kind of lost a lot of that and puppeteers were sticking to the script and we thought everything needed to get a lot funnier, so we thought we would go to a good improv comedy instructor.

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 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 think in a creative effort, in any creative effort, you need to, people need to be able to be taking risks and if it turns out to be a mistake, if it turns out not to have been the right choice, that should be applauded, you know, by everybody, and it will come up with another plan.

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

Patrick thought we should try to put an audience in front of one of the workshops, basically in front of the class and see how the performers rose to having an audience there, because he said, "You know, it's a really interesting test, because sometimes it gets even funnier."

I think initially it's terrifying because going into a show where, you know, "Oh, I'm going to be on stage for two hours, I have no lines to memorize, I have nothing really prepared," and actually I say that, the show is not all improvising.