When we were younger, we fought, but that's what kids do, right?

When we were babies, mum had to dress one of us in one colour, like blue and green, and she'd put a little mark on our hand or toe... she definitely had to sort us out.

I'm a really easy guy to read.

I'm always happy to work with my brother and especially to be a part of 'The Voice Kids.'

I always jump at the chance to mentor kids when it comes to music.

I love the gym; I do a lot of curls.

I answer the questions I want, and I don't the ones I don't.

I have a great family, so I'm lucky I've gotten to experience all the joys of having a family.

I think it's a known fact that Joel and I have always loved Australia since we started coming here 13 or 14 years ago. Everyone knows we love it here. Our only concern is will we wear our welcome out?

I've always been obsessed with girls.

I couldn't grow, like, any kind of facial hair at 17.

The only time I only really made out with a girl in high school, my mom caught me.

I've done plenty of phoners for Joel when he's been too busy. You'll never know. Our voices sound so similar.

We have known each other for a long time, and I've always known the real Paris. I always knew she was like wife material or serious girlfriend material.

The Madden Brothers is definitely not a side project.

Good Charlotte became more than a band and more than the songs: it became something that the fans owned.

Good Charlotte is very special to us. It's something we really cherish.

All of our lyrics are really personal, and we get a lot of personal letters.

The guy who runs Big Day Out doesn't like us for some reason; I don't even know why. We do all the other festivals, and we enquired about it. Who knows, maybe he'll eventually crack, but maybe not. We're just going to keep knocking on his door late at night saying, 'Come on, dude!'

Every time we go to New Zealand, it gets harder to leave. Everyone's always treated us like we're at home.

I kind of live by this old thing that time will tell whether people are going to write about this or that; all we can do is be who we are and make records we love, and everything else will sort itself out.

When you're making an album, it's kind of like having a baby. You have to really put everything into it.

We started our band in a garage when we were 15.

Good Charlotte's the first band we've ever been in, and back then, critics didn't matter. There were no rules. There was no one we had to impress.

I may have punched walls when no one else was around.

We don't take ourselves seriously; we make the records for fun.

There's definitely a lot of moments in my life now where I go, 'Wow, I get paid for this.' I've had worse jobs.

Both of us are lucky because we married women who are amazing cooks.

Jessie J's a funny, funny woman. What she does is she reels you in.

Australian bands are so self-deprecating - then they go on stage and blow every other band off the stage.

Good Charlotte, for us, comes from a place of youth for us, back when we were struggling and fighting for every inch, just trying to get by.

It does feel really good when you play a new song, and it's the loudest singalong of the night. It means just as much when we're playing the old songs, and people are singing along to those, too.

There's an interesting thing I've seen with Australian bands: when you put them side-by-side with bands from other parts of the world, they're just more musical. They're just better.

As young kids, we had a lot of tenacity. Life was tough at home, so it was easy to go out in the world and try.

We didn't leave home until we graduated high school, but when we did, we genuinely left. We went out into the world with 50 bucks, backpacks, and acoustic guitars.

We became a really good gateway band for all the kids that went on to love My Chem or Fall Out Boy.

The American Dream - I believe in that cliche because I know what having nothing feels like.

We were kids that didn't have any education. None of our parents were in the music business or even college graduates. We didn't have someone guiding us. We were just uneducated kids from the middle of nowhere that suddenly had a band going around the world.

You're just these kids from a small town. You get a record deal, and everything just goes so fast. In the span of five albums... in a way, the band that you started in your bedroom, or your basement or your garage, kind of becomes not your band anymore. It becomes something bigger than you could have known. No one really prepares you.

I read all the reviews. I remember the first review I ever read about our band was, 'They'll be gone tomorrow; they'll be gone quicker than they came.'

You find, as the years go on and you have some success, people kind of start to say yes when they should say no.

A lot of time, I have to be the person who just goes, 'Hey dude, don't even trip. Don't worry about it.'

You make a movie and you'd like it to be appreciated, respected, embraced.

I think I am missing a gene that most people have to enable them to feel happiness about success and these kind of things.

I think I approach things with an outsider's perspective.

I don't believe in God in the way I often see described by religion.

For me, personally, the value of a film is not determined by a review, but the health of the film is.

A film cannot make it into the culture without the support of critics.

I want to work with performers who really are ready to lose their minds, you know? People who are established and have talent, but who are ready to break new ground and really be cracked open in a new way.

People are attracted to entertainment, for sure, or jokes, excitement and romantically heightened stories that might be false, but are still attractive fantasies.