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.

Saturday Night Live' will always be this amazing, powerful behemoth, but it's also not the only thing happening in comedy anymore.

This is a feminist bookstore. There is no humor section.

If life after death really does exist, everyone probably gets what they expect to get, because that's the only thing I can think of that would be fair.

When you're a stand-up, you play in front of 600 people, and it's all about timing. I could never do stand-up comedy; it would be way too hard for me.