Everything has seemed truly in its right place as director Paul Thomas Anderson has become increasingly associated with Radiohead over the years, from his use of Jonny Greenwood as his primary feat…
that this new piece had its impetus in “Suspiria,” a Yorke film-music crossover that Anderson was of course not involved with, but which left a feeling of “unfinished business” between the singer and choreographer Damien Jalet that they were able to revive in a big way here.screen should, although there’s no harm nor foul if probably 99 percent of its viewers will stream it.
Well, they are independent — they’re separate things — but they’re definitely companion pieces. I mean, ultimately any kind of music video is to guide you toward the record, and not something that you can hold in your hand and take with you. But it’s all Thom. So much of this stuff is directly from Thom’s brain. A lot of the premise of this comes from Thom and this choreographer Damien Jalet, who he worked with on “Suspiria.
You have the shooting dates on the end credits and also on the EP that was given out to attendees tonight. It was shockingly recent.Was it a big, big production? It seems kind of epic. Probably not as epic as you think, but it felt epic, just because there were so many moving parts. Just so many dancers. There were two different countries. We went to Prague and we went to this beautiful museum in Les Baux where we did all that cave work. It was an amazing place. It’s sometimes shocking to turn around and see that many people for a 15-minute piece.I know.
Yeah. Well, Buster Keaton would always do that. There would always be some scene where Buster Keaton is slightly romantic. But that last song, “Dawn Chorus,” is amazing — which I don’t know if that’s been played before or not. I don’t think it has. It’s really, really so beautiful.Well, he has that similar thing, doesn’t he? Like, physically. He’s amazing with his body —very, very physical. I just kept saying, “More Buster Keaton, more Buster Keaton!” It seemed to fit.
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