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.

We're all in the service business. If you hire me to do a job I expect everybody else to be where I am. A little bit of crazy is good. It keeps things - balanced.

In television, women can really run anything. It can be a comedy, it can be a drama, it can be genre, it can be anything. But in films, women are still getting to the top.

I was creating commitment devices of my own long before I knew what they were. So when I was a starving post-doc at Columbia University, I was deep in a publish-or-perish phase of my career. I had to write five pages a day towards papers, or I would have to give up five dollars.

My personal opinion is that I don't ever do jokes that are about disability or cancer or what are seen as 'edgier' topics. I've been affected by those things myself, and I think that comedy should be a safe place for people.