Often times at a concert, I just close my eyes. Music is very transportive and visual for me like that.

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.

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.

When I started covering The Beatles and The Rolling Stones in a rock 'n' roll band, it helped me realize that my natural voice is actually really high. It helped me find my voice.

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.

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.

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.