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 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 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.

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