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.

I tend to just do whatever I want on an album and try to make it work. I'm just adventurous. It's most exciting to be at the edge of your abilities. I want to see how far I can push things.

I guess Surrealism has a draw for me because it's an unknown world. It's a world of subconscious. Some things you can't really get your hands on very easily. Things that are kind of nebulous and they feel like they're not completely formed. You have to feel your way through that.

Sometimes I'll have sections that I'm not quite sure how they fit in the puzzle of a tune, they'll get moved around; what I think was originally a verse ends up becoming the chorus, or what's an intro gets dropped as a hook, things get shifted around a lot.

I do get a bit of a sense, just from e-mails some people send me, just a little sense of how people in different countries seem to respond differently to certain lines in a song.

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

All the records I've put out have had either artwork that I did while I was young or something that my Dad painted.