The audience that surprised us the most was definitely Paris, when we played there last. They were just incredibly into us and we weren't expecting it at all.

The audience that surprised us the most was definitely Paris, when we played there last. They were just incredibly into us and we weren't expecting it at all.

I think it would be very scary and very confusing if I didn't understand where people are coming from, but I've felt the exact same way for so many other bands, growing up. It's not really a big deal.

So I think it was a good thing It was a little surreal watching Leo scream 'I'm not going to die today!' with our music playing - that was the last thing on my mind when I wrote the song.

I think things can have more than one meaning and still connect with people. There's a lot of meaning to the title 'Music For People' and they're all true and they're all accurate.

You can lose people without them dying, and I have, from moving, from traveling. The emotion is real, it just doesn't actually have to do with death. I'm singing about what I know, and it's a song about longing for somebody who's disappeared in your life.

I feel that I want what allows me to reach the largest number of people as possible, and I don't feel ashamed of that. I think I'm the kind of artist that's meant to be on a major label because my music is different.

I wanted to do that again but, when I went to look for chants, I didn't want to do it in the exact same way.

We used to go and play shows in the south in front of two people and now every show we did was just great. The warm-ups, most of those weren't even advertised and most of them were sold out. I don't know what's going on, it's just so much different than it used to be.

I think stuff on the radio is mostly good, but it's just not what I'm into. I'm not into rap metal.

Just having the pain of being alive without anything else, whether it's good or bad. There's a lot of serious songs on the record, you know. That song is just about feeling like a fish out of water, feeling like you don't belong on the planet sometimes.

I need to think about 'Make sure you drink your water.' That's the kind of person I am.

I want to do a collaboration or some kind of side thing or some soundtrack work. Because I've been doing this for years and years. I'd like to just step out and try something different.

Sometimes you sing songs about the way you want to feel more than the way you actually do feel.

It doesn't really seem any different anywhere. I'd say it seems like we're biggest in Australia. It's just that we've always been this underground band and for some reason in the last month has been starting to go overground.

It definitely seems like we are connecting with people, which is nice, because I've had a lot of music do the same for me. It's not like I don't I understand why we get the reactions we do.

'Free' is more of that 'familiarity breeds contempt' kind of thing. It's about saying 'Wait, I'm longing for something more than I have and I don't know what it is that I want, but I know I want it.' It has nothing to do with what I'm going through, personally.

I didn't want the record to be cold and I don't think it's cold at all. I felt it was very people oriented.

It's a very nice thing to be able to give joy to people.

The two records are very different. I guess, on the second record, that's more where I was at. Its not that I'm more well-adjusted or anything, it's just that what I wanted to sing about maybe was more the way I wanted to feel.

I'm really happy with Elektra, I don't have anything bad to say about them at all. I always knew a major label was the right place for me to be. I never really had an opportunity to go to an independent label anyway.

I think any band we played with would be a weird match. We're on our own, a little out there, but it's a good thing. I think we're complimentary to each other.

At least the rap metal stuff is good, but it's not really my bag. I've been listening to the radio since we've been touring the past month, because we don't get it most of the time.

I don't trust the Bee Gee's because there's no way they could always be happy.

We were number one most added at radio, when the single came out and that's much different. It took like eight months for any radio to happen on the first record, so a lot more support has happened right out of the box.

We're making this huge changeover from underground to more mainstream audiences. I don't know if we could ever repeat this type of feeling. We're really excited.

I've never really had anybody close to me die. I think the song is about a feeling that I have that, it still applies. It's a feeling of longing, once again.

I need to reach a lot of people to sell records.

I guess lyrically they're similar because they're talking about escaping the kind of misery that likes company. 'The Last One Alive,' for me, is very simple. It's just about alienation, really, that causes anger.

When I look back now, it must have been like Paris was at the time of Le Sacre du Printemps.

At home in Paris I take a milk bath two times a week, but here on the road it is more difficult. I miss them.

One of the special characteristics of New York is that it is different from a London or a Paris because it's the financial capital, and the cultural capital, but not the political capital.

You have people who can't act and they get all these parts. Paris Hilton falls into her own category. She's made a career out of it.

If you want to establish an international presence you can't do so from New York. You need the consecration of Paris.

I made the decision to come back to New York, quit my job and move to Paris.

The colors I choose there was to paint the first hotel, the Disneyland Hotel. Because of the cloudy sky we had in Paris, it had to be a particular kind of color who will fight those grey days. And also something you can see when you're driving up 'There it is! We're arriving!'

When Paris has to pee, Paris has to pee!

Good talkers are only found in Paris.

I stayed three weeks in Paris, fell in love with the city, and decided that I was born to live in Paris.

I was in Paris at an English-language bookstore. I picked up a volume of Dickinson's poetry. I came back to my hotel, read 2,000 of her poems and immediately began composing in my head. I wrote down the melodies even before I got to a piano.

I was backstage in Paris and saw Cindy Crawford doing House Of Style. I thought, I would love to to be in control of my career.

The audience that surprised us the most was definitely Paris, when we played there last. They were just incredibly into us and we weren't expecting it at all.

When I was at school at Paris, I had special lessons from Mademoiselle Antoine, an actress at the Comedie Francaise, and I was taken to every sort of play. I felt very grand.

I've never seen the Osbournes, I've never seen Paris Hilton. I'd rather read than watch reality TV. I'd rather live life than watch somebody else living it.

Well, let's say we acknowledged the School of French Painting - the Paris School of painting as the leading force and vitality of the time. I think that was understood and felt and experienced.

It was so quiet that morning in Paris that the heels of my two companions and myself were loud on the deserted pavements. It was a city of shuttered shops, and barred windows, and deserted avenues.

I will always remember this summer day in Paris, when I was to perform a great acrobatic move. I can still see myself stepping on the ring of a packed circus along real performers.

I've been to Paris France and I've been to Paris Paramount. Paris Paramount is better.

We had maybe the greatest success of any company that I know of in Paris, and after two or three years I wanted to do this same number that we did for PBS, so we did it and Paris had always considered us their darlings.