People will have MP3s of every Miles Davis' record but never think of hearing any of them twice in a row - there's just too much to get through.
Everything I do feels like It's going to end up being in Radiohead.
I worry about being a fogy and just writing for orchestras. Like, really, I should be doing more electronic stuff, I feel. Laptops as part of the orchestra, and installation sound, and speakers.
There's nothing like sitting in a completely quiet room, and then the strings start up. It's like when you go to the cinema - the first two or three minutes of any film are amazing. Because the screen is so big. The scale. Directors can pretty much do anything for those first few minutes.
Obviously there will be a backlash. If you believe the hype you have to believe a backlash too. Any criticism we get, is always stuff we've already criticised ourselves.
Jamaican reggae is the style of music I always reach for when ranting to friends about how you could listen to one style of music exclusively for the rest of your life - and it would all be great and varied and worth hearing.
I fell in love with electronics, which for me was the terra incognita, because I had never heard such sounds. If you'd asked me 50 years ago, I would have said the future of music is only electronic, but I would have been wrong. I learnt how to produce everything I needed with live instrumentalists, so I don't need electronics.
I suppose subconsciously I was thinking in terms of having the scale of it matching the scale of the images. Hence the sort of string quartet, jazz band and electronic stuff.
It's funny, but to me, when you go to a concert hall and hear electronic pieces from the '60s, I think they sound really dated. But when an orchestra plays a piece from that period, and it's going to sound different every time, it feels more modern to me.
Right now my mind is on the people who stole our instruments, and, specifically, the person with my guitar, which will no doubt end its days having Green Day songs worked out on it. A better fate was deserved - and while the reverence given to guitars annoys me, I shall miss it.
I was happy using cassettes when I was fifteen, but I'm sure they were sneered at in their day by audiophiles.
Nothing's more exciting than a day in a studio with a string section - or more ruinously expensive. So it's good to feed that habit away from the band, especially if it means more experience for the next Radiohead string day.
Presented with a song like Exit Music, It's impossible to know what to add without actually making it worse. How can you play along when It's already there?
I think guitarists are really over-admired and over-revered.
I suppose all of us - we have the old Protestant work ethic of feeling guilty when you're not working, and getting a buzz from feeling like you're really busy. That's the reason to sort of carry on.
When I saw the Penderecki concert in London, in '92 or '93, I thought there were speakers in the room. It was just strings. But I could hear these kind of buzzings and rumblings, and I was like, 'Where is this all coming from?' And that was just better, to my ears. Odder, stranger, more magical.
It's kind of not about the quality of the art, as much as this is what I love doing and I'd have a worse time doing anything else. That's kind of as far as I think in terms of philosophy.
I think It's a bit of a disappointment that a lot of people's Golden Age of music is still the '60s.
I can remember soundtracks that you just can't separate from the film - It's just so intertwined, so important. Like the Hitchcock ones where they kind of inform each other and become this larger thing as a result.
But I was in the Radiohead studio today and Phil was there drumming and Thom was there playing. We feel like we've only just stopped and already people are wanting us to carry on.
