I guess my performance at school was doing school musicals, so I was a knight as well at the back of the stage in Camelot. It was all those kind of things. It wasn't the stuff that I wanted to do. The real funny character stuff came out when I was in control of it myself and writing it myself.

I think it just really excites me, the idea of delving so far into a character that people actually believe it's real, and I start to believe it's real. It's a strange thing to say, but it's the thrill of getting all the details right and being so absorbed in the character that people go along with the illusion.

I like playing all sorts of ages and genders.

I think sometimes people become quite emotional about the characters as well, and that's pretty cool that you can get that emotion out of people. And I think that's more my motivation than like, "Hey I want to be the funny guy, I want to be that famous funny guy." That doesn't sit as well with me as the idea of taking people on this ride and taking them into the illusion of the characters. That's much more exciting for me.

I've met big-name actors doing Hollywood films, and they've said that all they want is an in at HBO and their own show.

I started doing comedy just as myself, because I thought, "This is what's expected, you're meant to tell stories and do observations." And then I started to realize that I wanted to mix it up a bit, so I started to doing songs, and I had a little keyboard onstage and would bring in little props. Then I thought about the idea of talking about a character and becoming the character onstage. So, it sort of morphed into being stand-up that was more character based, and I found that's the stuff I got the better reaction from and was more exciting for me.

I really like Jeff Lewis and 'Flipping Out' and 'Interior Therapy.' I don't know why I'm obsessed with American real estate and renovation.