In the show, we have recreated two sketches that my dad had, or pieces that my dad had developed. One that he had developed with my mother, one that Frank Oz had developed with my dad. And these are old pieces from the '50's and '60's, and we're going to develop more, too.

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.

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 try to emulate his approach of really get the most out of people by allowing them to experiment and certainly allowing people to make mistakes.

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.

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.

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.