Jonny: (About the National Polish Orchestra) They're the best orchestra I've ever worked with, because they have enthusiasm, which is my favourite quality, and they make you forget that they're using very old technology, it all feels current and new when they're playing live, so they're an inspiring group. Marek? We all love Marek, I don't speak any Polish at all but I get the feeling he's very funny, he has a very dry sense of humour which I like in people. And his sense in music, and how much life he puts into the music... it's just ink and paper (excuse me) but I'm still amazed at how much life a conductor and orchestra can put into something that's just paper.

Jonny: (on the studio) Have you been in the studio? Being inside the studio's quite strange, it's a bit like being in Goldeneye, lots of men in uniform, makes me think of James Bond sometimes. But yeah, the sound in the studio is great, the people there are fantastic, and I'm really proud of the recording we made there. They just work so hard, I remember watching when we were rehearsing, even recording, and Marek asked the violists to play something. It was just six players, but they were moving around like it was a performance, and they were like that all day, just putting everything into everything they played. It's amazing, the energy.

Jonny: (on Penderecki) I think it would be easier if he were quieter, darker and more forboding, but he's actually very friendly and encouraging, so... It's interesting because he's actually talking about writing some music for electric guitar, with a small string group, to try and work on next year. So my feeling about him now is amazing, the inspiration I feel I get from him is still increasing. I think it's amazing that people are going to see his concert in London tonight, because for me it's all about the live experience, and being in the room with the orchestra.

Jonny: I just get the sense that he's seen everything, in a good way, and is very open minded, and always has been... this is someone who made a record with Don Cherrie in the 70s, and which other classical composer was doing that, was reaching out to free jazz, American musicians? So, yeah, I mean really the honour and privilege is all mine. I really can't believe that I went from carrying around Penderecki records and scores, when I was with Radiohead, on those first few tours... that's just what I'd take with me. So it's very strange that now I'm talking to him and I might get to play my guitar for him, it's just amazing.

Jonny: (on other members of Radiohead reacting to Jonny's collaboration with Penderecki) I don't know, I didn't give it to them... I imagine there'd be heckling, but I'm just happy they'll get to see Penderecki conduct.

Jonny: (on the fact that Radiohead didn't play in Poland during the 2012 tour) I know. It's a shame. Shall I have a word, and we can go and talk to them? There's nothing for me to say and feel apart from guilt or depression now... but luckily I quite enjoy feeling guilty, it's nice, so there's that.

Jonny: What happened is I knew that Penderecki has an arboretum and is very obsessed with trees... some of the music, I've been trying to find a way to build that into the music. The first idea was to find some shakers, some very small shakers, and have them tied to the bow. But because I ordered them on the internet, a bit like Spinal Tap, I got the wrong size. I thought they'd be tiny, but when they arrived, they were a meter long! I played around with them at home and realised they could be used as bows, if the orchestra were brave enough... it just appealed to me to be using part of a tree, until someone pointed out that bows were made of wood, they're already parts of a tree... I try and ignore that. And I like the idea of the seeds being broadcast, being spread around and shaken, it feels like the right ending to a piece. Every so often when we're playing you hear a loud clunk, which is them dropping them on a violin, which I feel sorry about, but they're brave to try it. Some orchestras wouldn't even try it, but then some orchestras, the players don't even want to tap the violins, which is asked for a lot in Penderecki's music. so, you know, they've got a spirit up here, this orchestra, to just go for it, and it's great.