Colin: "You know, I don't think that it's been mad, it's like working with the same bunch of guys, since like school. Which is quite a strange concept, really. Um. Because it's like, you know, if you can, because people have egos and fallouts and stuff and if you can do something like that and still come out of it at the other end with a bunch of men, I think that's quite special, really.

Ed: "It's fun! It's good to hear new songs, and then go and play them. And fun to rehearse them and arrange them and, you know, do what we've always done, for eight weeks. It's like, is this a joke? No!

Jonny: "You know, it's great, because you work in a studio and it's, and it's, and just when it's beginning getting boring and turning into routine, you get to, you know, travel, and come to Montreux, and then go to Italy, and it's, it's a really good life... What can you say? Um, and just when you get, you know, you're getting ill all the time and you're bored of touring, you get to go home and write new music. So when the balance is right, then it's just, it's great.

['Just' live clip]

Phil: "At the end of "OK Computer", I mean, I think's funny, we came away from that, essence what was there going around, playing to very responsive audiences, go around fascinating places, um, and travelling very nicely, I mean all these things and also, you know, supposedly doing something that you love. All these things should add up to the most amazing experience, and they didn't at that point.

Ed: "We were, we were pretty tight as a band, before we signed, and then when you have a hit, the very nature of it mea..., you know, the way that "implodes" on different people, and the way that, you know, it effects egos and stuff like that. And people know it's a big deal, suddenly everybody wants to shake your hand in America, and someone's pointing to Thom going "Hey you're the "creep" guy". You, you... And that obviously, you know, that, the band, in order to personally survive those things, some, well the way that we did it was, we sort of shrunk into our selves.

Phil: "I think that was a worrying thing, it kind of, it did actually break down the lines of communication for us. And that's why we had to rebuild over a couple of years.

Thom: "I think that everybody was suffering from a little bit of the same thing, cause what happened, was we, we, everybody lost confidence, it wasn't just me! Everybody lost confidence. So it was really, you know, it was a "sinking ship". But, I think I was probably feeling it the worst. And then when we went and played in front of the people we got our confidence back.

['Paranoid Android' live clip]

Phil: "In fairness, I think we did the best that we could, around OK Computer, um, but things are much, much better now. As well, you know it's...we have learned to be rather more open with eachother and I think rather more forgiving with eachother as well now, and so, it makes for a much happier environment.

Ed: "The thing about a band is that, you know, when we formed this band we were seventeen, you know? You're in a state of arrested development. You know? A band can do that, and then so while your mates are kind of at home and they've got serious relationships and even some of them might start having children, and it's like, well, you know, I've turned thirty in a hotel room and I still... you know, there's a part of that was great, but you're eighteen years old still. So, what we had to do, we had to, when we made the Kid A we had this rapid sort of you know, growing up period that went on; accelerated growth.

Thom: "I think a lot of people have very similar experiences where you go on for a while and then you crash, you know, cause it's sort get into it for...for peculiar reasons, and they're not necessarily the reasons of just self-aggrandizement and ego. You know, sometimes it's cause "Well, you actually really love what you're doing?" STOP. *Ha!*

Phil: "Just as we did when we were recording Kid A, we had to, you know, completely rethink how we worked in a studio and how we were going to work in a band. You know? It''s kind of actually to save that whole process of doing Kid A and Amnesiac and then going out and touring, it was more or less a process of, you know... saving...not saving the band so much but making it worthwhile again.

Thom: "When we finished the record...the Kid A record, I got back into it. (Um.) Because that whole record was based around this idea of hiding, which I think I picked up very much from the Electronic thing. Cos there's no, there's no identity in electronic music, unless someone's singing, which is...which I found very inspiring. And then when we were settling in touring it, suddenly I'm singing it, and suddenly you're standing in front of the mic and you're like "Well? Ok..." and then you sort of think "Well actually, this isn't so bad!"

['Idioteque' live clip]

Thom: "Well, after we'd finished that record ....uh, I went and did a session with Polly harvey, and with Björk, and watching them work made you sort of think "Well, maybe this isn't so bad," I especially, I especially remember the sort of duet with Björk. We did it at the same time, and just watching her was sort of was really inspiring. It was...I just sort of, suddenly it made me feel very uptight! And, got me back into the idea of responding to a particular moment and that's what you do! So then when we came to do this record it was, I was itching to just sort of get on with it...

['There there' live clip]

Phil: "We've just done this period of doing festivals. you know, Hultsfred and Glastonbury... and it's good to actually have you know, similar kinds of shows in a block, cause then you get used to playing, you know... At festivals, you get used to not actually having a soundcheck, just going out there and doing a lot of things on the fly, really. And you get used to the kind of a sound that comes back off that. But, at the same time it's nice to actually then be able to move on to the next kind of show, really, after that. Just, you know, it just keeps you on your toes, for starters, and you can do different kinds of sets, according to what kind of show you're playing as well, so... you know, with six albums worth of material now, it's, you know, you can actually cover that whole spectrum, really.

['Backdrifts' live clip]

Ed: "Personally speaking, what I wanted to do this time at Glastonbury was, for us, individually and collectively to enjoy it, cause we didn't enjoy ninety seven, and, so this time it was trying to enjoy it. And it was good! I really enjoyed it!

Thom: "It was good to do it again! It was like exorcising a ghost, really, for us, because the first time we did it, we had quite a rough time, but it was a really good gig, um, the reason it was a good gig the first time was because of the tension, but, um, psychologically speaking, at the time for us, it was such a big mountain to climb. And then, it was a little bit like "Well, now what?" It was a different thing, Glastonbury, this time, because I spent most of Sunday walking around, and seeing that, really, you know, there's lot of festivals out there, and a lot of festivals, especially Glastonbury, really aren't about the music anyway! We had a really really nice time! We camped there! Mr. Eavis let us camp on his a big teepee! It was bizarre! It was so cool! I didn't sleep at all for like two days... but it made it, it made you forget about it really quickly and made you think... it was just very pleasant, it didn't feel like such a big deal this time, by the end of it, you know what I mean?

Phil: "The more we do this, I think, you know, I think the more we become aware that it's a fairly lengthy process to get yourself in the right frame of mind to go and do a show and to do it properly, to do it justice.

Jonny: "We've rehearsed for a couple of weeks, near our home in Oxford, we all live very close to each other, and we just played together for a couple of weeks, and that's...sometimes enough, and even if it isn't, it's nice to feel us improving as the tour goes on as well! You know? It's changing all the time...

['Sail to the Moon' live clip]

Ed: "It's not like it used to be ...*AAAH* *smoke away*, it's like now there's a kind of, a kind of like ok, there's almost a ritual to it. (Um) We do a setlist first, then we sound check for about an hour and a half, and then we have, sort of, four...three...four hours to eat, and just chill out.

Thom: "Hyperventilating, you're like not able to eat, ... very very tense...

Colin: "With Thom you're working with someone who commits so much emotion when he's performing, that, there has to be some kind of like, validity for you being there, other than like, let's get in and then let's get back again, cause, if you started like, playing concerts under that premise, then you might as well be like...It's trying to get away from the feeling like you're a tin of sardines and the can is being opened every night, and then peeled back up again. I suppose? And it's made it a lot easier, if you're playing in sort know, the last day of exams, for all the kids, sixteen year old kids in Italy, and you're right next door to the Metriculation School in Florence, now you're doing two shows there, and you've got all these, you know, to be part of that, to sort of punctuate peoples' lives like's really great rather than playing somewhere with like a one kilometer circular carpark lot around it.

['Go to Sleep' live clip]

Phil: "At the moment..."Go to sleep". It's a player's favorite, at the moment. (Um) "The gloaming", now that's, cos that's moved on from what we did on the record, really, you know, cause you've got the live drums on there now as well, and there's what Jonny's doing with taking, you know, samples of that, and then messing about with it in the MAX program. You know, it's those things which are kind of like the signposts, or have been in the past, to what comes next for us, really.

Jonny: "Finally I'm getting back into programming and writing computer programs, basically, rather than using other peoples', and it's great, you know, they keep breaking and crashing but when they work, they sound ...they don't sound like other things. I guess no one else would write them like that, would want to! So, it's, you just, you're using the computer in a slightly more ...raw way, I suppose, and that's what I'm really responding to at the moment. I'm loving it... I think that everyone's really into it, because, it's funny, when you use commercial music software, you feel yourself being led down this certain path of making music and just end up sounding like everyone else... which doesn't make sense, because you should should have no limits.

['The Gloaming' live clip]

Ed: "We wanted these songs to be a live...basically a live record because of way we had been playing live, because this is the thing: We felt that we had to document this band at this time, because we'd really been doing the best gigs of our know, we were sort of... there's a swagger, a groove, so let's document this period.

Phil: "And like Kid A, where we hadn't done any preparation for, we went into the studio... and this time we knew that we wanted to ...A. Tap into what was going on ... in the kind of, well, the energy that was coming off the live performances from Kid A and Amnesiac, and, Also: actually be prepared, you know? Actually have songs that we knew by the time we got into the studio, and, and to be in a position where we were playing well as a band. And, you know, actually going out and doing a tour is the only way that you can do that really. And, actually really solidify that whole side of it, so, consequently, by the time we got into the studio in L.A., the first fortnight of recording, everything was flowing, really.

['A Wolf at the Door' live clip]

Phil: "Bandwise, well, they're not really looking beyond the touring at the moment, I think we know that, you know, we love what we do, we love being musicians, and as collaborations go, this is a pretty good one, really, in Radiohead! So I think we can see a lot of potential left in it.

Ed: "We've got to carry on doing it and enjoy...and be...the day that it feels like it's some kind of ... everybody says "Never say never", but you know, I just don't think we are kind of one of those bands who are going to be, I don't know, ten years, fifteen years time, just, we won't be, but the idea of a band just going out and playing Greatest hits, and, you know, here, Creep, and we're all in our fifties, that's not what we're about. That's not what we're about.

['Sit down. Stand up.' live clip]

Jonny: "I think one good thing about us is that this is as good as we can know? It's not as though we can effortlessly play any style of music and kind of, you know, do a compentant jazz number, and some blues,'s like, we can't, we can just do this, so it's, that's why it's still exciting I suppose, because it doesn't feel effortless! It doesn't feel like, you know, we're just, we're coasting, it's's still a bit of a fight! In a good way...

Colin: "It's still amazing when, like, Thom plays you a song and it's just just reminds you of when, you know, he's sent you a cassette when you were like seventeen, eighteen, at college, from Exeter, of like songs he's working on! And, you still get that same feeling! So, that's enormously a privilege, really!

Ed: "It's a totally different band now! We're ...we're much more together! We're, you know, we don't have those huge swings of emotion. There's a really good level of just, I mean, and a lot of it's fun now! Which it wasn't before...

Thom: "We play now much more confidently, and, and if you make a mistake, you know, if it falls apart for three bars, you're not sort of thinking, "Oh my god, everyone's going to hate us because we've mess...we've made a mistake", which was what was happening on OK Computer, you felt like you're constantly on the line, you're constantly trying to prove to your...prove something to people, because of the hype. And, having burst the bubble, you don't feel like that anymore, and you feel much more free...

['2+2=5' live clip]