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.

The beautiful thing about comedy in the U.K. is that it has a clever twist to it, and when you really break it down, the joke isn't filthy at all: it's clever.

There was a lot of terrible, terrible comedy in the seventies along with 'Fawlty Towers.' It's easy to forget.

Comedy was an easy choice for me because I didn't have a career.

The definition of comedy is 'unsafe space' - you can't control what people laugh at.