Greenwood recently released his soundtrack for new Lynne Ramsay and Joaquin Phoenix film You Were Never Really Here. His work for Paul Thomas Anderson’s Phantom Thread was nominated for Best Original Score at the Oscars.
Answering fan questions in The Guardian, Greenwood said of his bandmates’ fighting abilities: “It’s not a very strong field.
“Having said that,” he added, “Ed [O’Brien, guitarist] had boxing training – he was sparring with the head of our concert security on the last tour – so he’s probably quite tasty. But also the most placatory and pacific of all of us.”
“I reckon Philip [Selway, drummer] would be pretty handy if he had his wild up with someone,” Greenwood continued. “Unlikely, but still, don’t push him. The rest of us are… not a threat.”
Elsewhere in the interview, Greenwood discussed the differences between working on soundtracks and working with Radiohead, saying that he focuses on the visual aspect more when recording scores.
He said: “The visual side of Radiohead comes from Thom and [artist] Stanley Donwood working together while we’re recording – often in the same room – on canvas, paper, computers. And it evolves while the recording evolves (and gets Thom occupied while the rest of us try out wayward ideas to dismay/delight him with). So no, I never think in visual terms when Radiohead are working.”
“But on soundtrack work, I do get motivated by the interesting syntheses between music and picture. When that stuff falls well together, it’s really exciting. Apart from anything, it makes the music so much better (and sometimes the picture, too).”
Greenwood recently spoke to NME about what makes a good film score. He said: “Music’s a pretty great resource to have: you’re looking for the moments when the film and score combine to make something greater than the sum of their parts – to make both element better than they would be on their own. Sometimes it happens.”