My dad and mom were, they would take what were popular hits, and lip-sync to them with puppets and do a ridiculous story.

Really, initially what I very quickly realized that I was loving about the show was, because it reminded me of when I was a kid and I would visit the sets where my dad was shooting with the other puppeteers.

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.

To anyone who's trying to be an artist, in any medium, it's a very odd and lonely and nerve-wracking and scary process when you let anybody see what you're working on. You have to learn to listen to your instincts. Absorb other people's advice, opinions, or whatever it may be from the outside world, but at the end of the day, you have to be true to whatever it is that you're trying to say in that work.

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.

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

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."