Emotionally, I feel mostly out-of-depth, like I will never quite learn how to be what I should be. And that makes me feel pretty vulnerable a lot of the time.

I quite clearly remember driving home at 9 a.m., after shooting all day, in a bathrobe, with bodypaint all over my face, and going through McDonald's drive-thru. I ordered a coffee to make sure I didn't crash on the way home. And the girl working there, she didn't even bat an eyelid. I guess it's a regular thing down in Hastings [Australia] McDonald's.

Through the music I hope to give it an arc that gives it a greater sense of a journey through the set rather than a bunch of songs.

I've been very lucky to work with many amazing animators and directors who can interpret and extend the music I make. When it's done well, it can create extra meaning and new context for the song.

A big part of making music is the discovery aspect, is the surprise aspect. That's why I think I'll always love sampling. Because it involves combining the music fandom: collecting, searching, discovering music history, and artifacts of recording that you may not have known existed and you just kind of unlock parts of your brain, you know?

I'm open to whatever. I think sometimes when people collaborate these days, it's a little bit convenient.

Have your friends collect your records and then change your number.