Most of the lyrics are over a year old, and it doesn't feel like it's about me. Time created a distance.

I am a very sensitive person, very impulsive and emotional.

A lot of people question my image and why I do what I do, and the answer is because this is how I want to present myself.

Suffering for your art is most definitely overrated but I do get a certain, I don't know, satisfaction from being able to deal with my paranoia and insecurity.

Let's get one thing straight: there's no such thing as the Bristol sound.

The blackness of darkness, forever.

There's not only emotion in the way you sing but also in what you sing. That way I can compensate it.

I think that after a year of Portishead I've become a little more sober.

I've just put my heart and soul in a song and need at least a week to recover.

I thought I had a clear picture of death, but now I know it's a mystery and it will always be a mystery, although it is something we all have in common: everybody knows that life ends with death.

I've had a wordless phase, and that's still not entirely over: what I sing is not always literally meant that way, and you can hear that in the way it is sung.

The guns reminded me that this was just an attempt to punch holes in the darkness that enveloped us now.

*Nothing is free* asserts two things. Both assertions are true.

If it is orderly and lawful, immigration is good for our economy.

What did I do to deserve this?

The warrior (Zsadist) rolled his black eyes. "Come on, man. What does it matter to me? You, Tohr. Britney Spears.

I always remember loving Even Stevens - that show was so brilliant and funny and smart.

Melbourne is a fantastic place to work, but it's not the centre of the world.

Give me the gift of a listening heart.

I spend so much time hating (my body) but it never says a bad word about me

I'm always on to something else. It's like, I'm sitting here now jotting down notes for something that's in my head. There's always something going on in my head, and I have to just keep executing.