The music to the propulsive ‘Just’ was largely written by Greenwood, who Yorke says “was trying to get as many chords as he could into a song. It was like writing a medley.

Thom : « A competition by me and Jonny to get as many chords as possible into a song. »
Jonny : « Am G# Eflat F Am G# G F# F C F# F F C F# F F. »
Ed : « This could have been about seven minutes long, as it was in rehearsal before the album. That whole rehearsal period stuck on a fruit farm in the middle of winter was amazing, just the five of us playing new songs. I think Phil’s drumming on this is exquisite. »
Phil  : « My favourite drum take on the album. Combination of sound rock and sassy grooves… well, I can dream, anyway. »
Colin : « First track we put down properly at RAK. »

It was either going to be Sulk, The Bends, Nice Dream or Just. We had to give those absolute “attention, make the amazing, instant smash hits number 1 in America”. Everyone was pulling their hair and saying, “It’s not good enough! We were trying too hard”.

Video shoot for ‘Just’. It’s being directed by a guy called Jamie Thraves. He’s just sent us this idea on an A4 piece of paper. It’s about a character who collapses in the street and then all these captions appear on the screen as if the song’s been translated. Apparently. But, there are three days of shooting and we’re only here for one so it’s pretty much out of our hands. That’s cool. Go stand on film set. Strut around like a peacock making faces. Not a pig in sight. Good therapy.

In the clip, members of Radiohead perform in a high-rise apartment complex. Singer Thom Yorke is drawn to the window when he hears a commotion on the street below, and he sees a well-dressed, middle-aged businessman lying on the sidewalk. A pedestrian stumbles over the man and asks him (via subtitles) if he has fallen. The man replies that he has not fallen, but that he simply has decided to lie down on the sidewalk.
A curious crowd forms around the man and makes many inquiries about his physical and mental health. The man requests that the people disperse, but they refuse to leave him alone. As the crowd grows, the inquiries shift from concern to extreme curiosity as to why a man would deliberately lie down in the middle of the sidewalk. Even a police officer cannot solicit a reasonable answer from the man, who only responds, ‘You don’t want to know, please believe me’.
It’s as if the man knows something that the rest of the world does not. Finally, at the end of the video, he agrees to reveal the reason for his seemingly insane action. However, as he begins to explain, the subtitles disappear.
The viewer does not discover his secret, which has made an incredible impact on the crowd in the clip. As the camera pulls back from the man on the sidewalk, it reveals that the people surrounding the man have also fallen to the ground.

In the clip’s original edit, performance footage of the band is interspersed throughout the theatrical sequences. However, there are two additional edits of the video, which separate the performance and movie-like sequences.
“The original works best because it builds an incredible tension that is never resolved,” says Yorke. “We all decided that we would never tell anybody about the ‘meaning’ of the end of the clip.”

Capitol video VP of visual promotion Linda Ingrisano says that the man’s response is not even written in the script for the video, which is a production of Oil Factory.
“I’ve had more inquiries about this clip than any other in my entire career,” says Ingrisano. “It’s almost as if the clip touches on the secret to life in the universe.”
MTV began playing the clip Oct. 10 and designated it as a Breakthrough Video because of its “strong technical or visual effects or creative vision,” says MTV senior VP of programming and music Andy Schuon.
“This could get people excited about the album again,” says Schuon. “It certainly isn’t a run-of-the-mill video.”
Radiohead entrusted new video director Jamie Thraves to the task of creating the clip, despite his relative inexperience in the genre.
Before this project, Thraves had directed only a handful of short films, but no major-label music videos. The risk has paid off, according to Yorke.

“We left the song in very capable hands,” he says. “Jamie was free of the constraints of the typical video formula. He shot the video the way he wanted to.”
Thraves says that he had envisaged the clip as a short film, rather than a conventional music video.
“I felt like the visuals had to stand on their own,” says Thraves, who also shot the forthcoming clip for ‘Toes Across The Floor’ by Blind Melon. “It was always my ambition to shoot something as narrative as possible within the context of a music video. Using subtitles seemed like a natural way to achieve this, since the words do not compete with the actual vocals of the song.”
Thraves says he is realizing the impact of the clip, as more people ask him why the man is lying down in the street.
His only reply: “You don’t want to know, please believe me.”