I don't think I've had a job since I worked for my father's construction company.

I always wanted to be a comedian but never thought I'd be a musical comedian.

The Internet is so crazy, and you're exposed to so many things. In an hour, you can really jump around.

The unlimited amount of information that I have access to has also given me an unlimited threshold for how I need to be stimulated.

I don't want to put meaning on what I do because I don't know what it is.

It feels like we're always juggling many pieces of information at once or trying out many personas at once. It makes life slightly nonlinear.

I know I'm probably digging for fresh fruit in the garbage, and as much as anyone, my attitude is, if stuff's sincere, it's gooey and boring and uninteresting. But it's no way to live.

I'm very left-brain.

There's only one rule in stand-up, which is that you have to be funny. Yet 99 per cent of comics look and talk exactly the same.

I have no real want or need to be a movie star.

I'll stop when I think I'm not doing good stuff. I'll never exploit something just because people like it.

All my fans saw me as some little kid who can't even afford new jeans in his room, so they'll support me. That'll work until I become a success.

I like to joke about being gay because it's something teenagers would never joke about.

Uncharted territory is a good place to be in.

I grew up listening to Steve Martin and Robin Williams, so I didn't ever intend to be a musical comedian. I sort of stumbled into it.

I write about what I know: teenage dating, overly charged sexuality, all the things that make you uncomfortable.

I really like maths.

Music is really, really mathematical.

I don't interact with people much.

I always wanted to be a comedian and actor.

I've come across people referring to themselves as 'Vine famous.' Some of them started out by putting up Vines just for fun, then all of a sudden they get a bunch of fans, and a week later their Vines are totally different. They become obsessed with how their videos will be perceived.

'what.' is bombastic introspection. It's large, colourful, and loud but hopefully intimate at the same time.

If I had posted my first video a week later, I don't know if it would have spread like it did. That's why, with everything I do, I try to enjoy the making of it instead of worrying about the release and reception.

The thing is, I always thought I could do stand-up, and so I just stayed focused on the belief that I could succeed.

Being famous is complete luck, and that's something you can't bank on.

I'm not as incredibly prolific as Louis C. K., and I'm definitely not doing a completely brand-new hour probably by the beginning of the tour.

Even in movies like 'Superbad,' they're all lovable kids.

I'm grateful for every stupid mistake and dumb joke I tried to make.

I love Tim Minchin, Bill Bailey, and Hans Teeuwen, and I'm trying to synthesise elements of theatre into my show a little bit more.

Not enough comedy makes you feel something.

I would say don't take advice from people like me who have gotten very lucky. We're very biased. You know, like Taylor Swift telling you to follow your dreams is like a lottery winner telling you, 'Liquidize your assets; buy Powerball tickets - it works!'

I became good friends with Jack Whitehall. I think he's great, such a great dude, and really funny.

There's tons of dudes - like David O'Doherty, Tim Key, and Alex Horne - I made a lot of friends with people who are really incredible comics.

If I was confronted with some 20-year-old American hotshot, I'd hate him.

You can give poor people this royal wedding to watch and make them feel good about themselves, or you can give them something useful like, I don't know... a toaster.

Basically, I don't like to tweet stuff about my life. I only like to tweet jokes.

I always think of myself as a comedy feeder type person, and that feeder lets themselves get out of your comfort zone as opposed to straight stand up; that feels like honing one skill, like honing one point of view.

I enjoy stand up so much because I take time off, and then I'll be excited to go back to it.

The strength of comedy is I don't have to answer to anybody, but sometimes you want to learn from other people and see your ideas strengthen by other people.

I just have a problem with youth culture.

I didn't want to bash young people. I don't want to bash a kid for dreaming or wanting something or being slightly ambitious - that's not the problem. The actual problem is with the culture surrounding him.

With 'Words, Words, Words,' that show was me experimenting with something, and then there was a clear direction for me.

A few people know me, and the few people that do know me only know me because they dig my stuff.

I just look at Miley Cyrus, and I'm like, 'Great, you've doubled your audience. But you've also doubled the number of people that hate you, and doesn't that hurt?' It takes a crazy person not to be affected by that.

Since I got an audience before I even had a comic voice, my material that really wasn't worthy of an audience somehow got it, slightly unfairly.

I don't really care about capitalizing on momentum.

I'd much rather wait till my material is up to par, in my opinion, than rush it just so I can stay in the limelight a little longer.

A lot of my fans are really young and seem slightly unsure and nervous about things. Hopefully for young people watching my show, it comes away that I'm pretty weird up there.

I'm clearly doing what I want. I hope kids can see my act and feel like they can be slightly more comfortable in their own skin because I'm being so ridiculously comfortable in mine. I'm not that comfortable in my skin the moment I walk offstage. But I try to project that while I'm on it.

I was being called a shock comic. I hated that. It's so cheap and stupid.