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.

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.

And then after the success at Melbourne Comedy Festival, then we regrouped back in LA and we went back into workshopping and decided to develop a proper show and that's when we started working on "Stuffed and Unstrung," which is a much bigger and sharper version of "Puppet Up."

I guess I learned a couple of good lessons from my dad. One was when you're creating something, what you want when you're working with a team of other artists, is everybody to work with some creative freedom, so that you really get the best out of everybody.

It's actually good when the performers are nervous, because it kind of sharpens up your brain and a little bit of adrenaline is good. Initially it's really tough.

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.

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.