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.

I have grown up now... with so much experience in life that I keep incorporating in my expression while performing.

Any time you experience adversity, whether you lose a game or maybe have an official who makes a poor call that costs you the game, you've gotta handle yourself properly. Just like in life, not everything will go your way.

I learned to glitter the pumpkins for Halloween not because I went into it thinking, 'I'm going to glitter some pumpkins!' No. I bought all of these big, cold, slimy, disgusting pumpkins and tried to carve them, and it was gross, so I had to find something else to do with them. Glitter was life-changing.

Everyone is looking for a purpose in life. The reason we all go to the cinema or online is because we haven't found a purpose yet. We are always wondering why we're here. But I've learned that we have to create that purpose for ourselves.