I'm just an enormous British comedy fan.

I really put my heart and soul into everything and I don't want a project that doesn't feel real to me or I don't get invested in. In order to drive a show for eight or 10 years or whatever the target for doing a show is, it really has to be a part of you. Because then I can come up with stories for seasons and seasons on end. I wish I had the ability to just like the idea and get people in and drive it that way through their enthusiasm. For me, it has to be a little more of a personal thing, even if it's not a completely personal story.

Katie Dippold, who I wrote the script with, she's very into ghosts and all that. So I go, "Hey, why don't you talk to Katie?"

The dueling maturity levels in high school is such a source of comedy to me. I was always such a late developer. I was last to walk. I was last to ride a bike. I was last to have sex. That's why it's fun to portray one side of your childhood onscreen.

With a suit, even if you're having a nervous breakdown, you still look like you're in charge.

Little Britain… ever since it first came on… I come here a lot, we have a lot of friends here, my wife used to work with a lot of Brits, so we were always keyed into the hot shows when they first came out. So, I fell in love with Little Britain.

I'm more of a science head, so I was like, how would a guy use - if there were ghosts - technology to bring them back?