I see it as my duty in some way is to be out in the world as an Australian putting forward what I consider to be authentic Australian music.

I'm hugely self-critical in the morning.

You're collaborating with people you don't even know, when you're making a film. You're collaborating with people you've never seen. So, the collaborative process is very, very different than when you're collaborating on a record with the musicians you've worked with all your life.

But if you're gonna dine with them cannibals Sooner or later, darling, you're gonna get eaten . . .

What you're really after when you see a film or listen to a song is a singular vision, and I'm not sure how much of that you really get in Hollywood.

When I’m singing “Deanna,” for example, which I sing pretty much every night, it brings forward a kind of imagined, romanticized lie about this particular person, which I find really comforting and exciting to sing about.

The big problem with songwriting for me is starting a new song. It's the thing where all the anguish exists, not in the writing of the song, but the starting of the new song.