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.

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 first big thing that I did with my dad was the bicycle sequence in "The Great Muppet Caper," where Kermit and Piggy are riding bicycles in Battersea Park in London and that was a complex marionetting and cranes driving through the park, it was a complicated scene, and I did that with my dad.

Oh, well, I can't tell you; it would be telling you the end. It's a one-character lip-syncing because in the early days, that's what my dad was doing.

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.

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.

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.