In my life, I didn't get into comedy to be - I had no business model. All I wanted to do was, basically, finish becoming myself. And you stand in front of people and be seen and heard in this format. I thought it was the most practical format for me to express whatever it was I was going through. Whatever my ideas were in my evolving philosophy about life. I obviously don't sell out theaters. I'm not a household name. I'm not incredibly consistent in terms of doing the same act over and over again, and I'm definitely working out a lot of my existential issues onstage.

I don't make a list of questions. Ever. I think a lot of my interviews are driven by my need to feel connection.

Comedy is obviously a matter of personal taste and the world always needs a clown and some people have no taste at all and any clown will do.

I look at every book as a self-help book.

The Internet has usurped the collective unconscious and access to cosmic consciousness has become difficult and almost primitive.

There's this whole post-modern, nuevo beatnik, retro-bohemian thing going on, you know what I mean? You walk into some coffee shops, and it feels like you're an ex-patriot in Paris in the 20s. You're like, 'Hey, isn't that a young Ernest Hemingway over there? Yeah, I think it is! Hey, let's go have a look and see what he's writing... It's a Gap application.'

I think most other comics are like, 'I'm going to do my fkin' act and that'll be that.' With me, it's like, 'What if I forget my jokes? What if I can't pull it together? This is going to be a fking disaster!'