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.

One of the main destructive forces within our family has been these runaway egos. I think if you look at any show business family, that struggle exists.

Super-Earths are how we call a family of planets... up to two times larger and about ten times more massive than the Earth.

I find football much more powerful than what grown-ups want it to be. It's a community to me; it's something very meaningful in the life of many, many people and especially the youth. And, therefore, I think it can bring social cohesion.

It's a competitive business, and everybody wants to be the best. And when there's a new guy coming in, and there's buzz about him, 'Oh, he was a pro football player,' you instantly have people that don't like you because they're afraid you're going to take their spot.