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.

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.

I thought, well, if we're inviting an audience, let's do it right. So I put in a proper studio audience at our studios in Los Angeles and it was just a little showcase and it was just for fun.

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.

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.

I'd say that that is a challenge, but it also is, again, it's helpful. It's helpful to have the discipline of, okay, I'm doing, I'm doing something that's quite precise over here, working the puppet, and I'm doing something that's very imprecise and creative and unleashed over here, which is the comedy side. And it's kind of nice to allow your brain to be doing those two things at once.

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.