Jonny Greenwood on BBC Radio 4

Jonny Greenwood tells Front Row that scoring Bodysong, Simon Pummell's film of archive footage from birth to death with no dialogue, was a dream assignment. Instead of leaving room for dialogue and making players follow click tracks, he was sent 20 minutes of footage at a time and wrote three or four minutes of music, and Pummell cut the film to it. To keep an hour and a half of music from being either monotonous or exhausting, he wrote everything in one scale, and the jazz players and the string parts were held to its notes.

It felt like a continuation of a Radiohead session, in the band's studio with their engineer, playing the others what he had and asking their advice; Thom Yorke came up with some of the titles. “Convergence” was built from tape loops of him sitting on the floor like a child, playing one drum at a time. “I felt very much like a primary school musician for that,” he says. The drums fall into a martial beat under the fighting, because he couldn't think how melodies could hold that footage together. He has started to see every instrument as technology from a different era, the ondes Martenot from the 1920s and the strings from centuries before. The cliché to dodge was sliding strings over mass graves, and the sex scenes got frantic bebop, for reasons he would rather not think about too closely.