I'm always sort of looking for projects that I can sort of put out into the world, into the public sphere, and to somehow cause an effect. I want to be able to create projects that sort of are going to make people think and think in this sort of magical, sort of fantastical way.

It's very intuitive, the way that I approach my work. I only buy something that has a pulse. I may not know how I'm going to use it, but I know it has a pulse and it has multiple readings - if I shift it one way or another, it can be read this way or it can be read that way, but both readings are critical and very much ground the work.

At the end, we're kind of observers - creative people, I mean. I feel like an observer, and I'm pretty much able to step out of things and see how things are playing out.

The writer who refuses to explore the darker regions of the heart will never be able to write convincingly about the wonder, the magic and the joy of love for just as goodness cannot be trusted unless it has breathed the same air as evil.

The way I take in the world is by seeing it; that is very much evident in the songs that I write.

I don't know, maybe Australian humour isn't supposed to be funny. It's as dry as the Sahara, and I think people miss that.

I look at you and you look at me and deep in our hearts know it That you weren't much of a muse, but then I weren't much of a poet