I started writing songs for youth theater and stuff, and so it's really writing music for the stage that started me out, but then I eventually went to music college and did a two-year course in contemporary music and then just played in endless bands, cover bands, jazz bands.

At its essence, 'Groundhog Day' is an existential journey of an unhappy, judgmental, slightly narcissistic, misogynistic, dissatisfied, aspirational, entitled, privileged male who has to learn to be the opposite of all those things to find happiness - to learn that learning is important and that you don't get to control everything.

In particular, Stewart Lee and Tony Law, people who could have been really critical, were really supportive of me, and I'll never forget that, and I want to be that person, so you have to work really hard to repress your natural jealousies and be one of those people.

I've stopped asking for criticism, even from friends, because I don't think anyone knows my little world of mega-thorough critical thinking/musical comic rambling better than I do.

Modesty is a learned affectation. And as soon as life slams the modest person against the wall, that modesty drops.

Freedom' is my big buzzword in life. It's just my favorite word. And I think so many of my choices have been about gaining freedom.

When I go out to direct a film, every day we prepare too much, we think too much. Knowledge becomes a weight upon wisdom. You know, simple words lost in the quicksand of experience.

When I went to Sundance for 'Afternoon Delight,' I came back feeling like I wanted to take my experience that I learned from directing and bring that into a series.