Boards: How do you go about selecting directors for jobs?

Gent: It's all a bit of a subconscious thing: I watch reels, see things on TV, catch the occasional exhibition; then when a track comes in, certain directors, whether they be graphics people, documentary directors, commercial or video, something just feels right. Obviously this only works if I know the band well and we share the same taste.

Boards: What comprises a good treatment?

Gent: A good idea helps (obviously) but it's important that it's right for the band also. Too many scripts are only about the idea, the band and the music seem to be an after thought. The images and music should work as a whole and it should represent the band. If one of these things is missing it has failed as a piece of work whether that be a promotional tool or a piece of art.

Boards: How much say does the artist have in selecting the director?

Gent: Not a massive amount in my experience; but I think it's different being freelance because the band wouldn't chose to employ me if we didn't share the same taste. Therefore they trust me to find the right people for them.

Boards: Describe some of the jobs you've commissioned.

Gent: Sparklehorse's "Saint Mary's" directed by Sophie Muller has to be one of my favourite videos. About 5 of us went out to Mark [Linkous of Sparklehorse's] ranch in Virginia - there was hardly any money so everyone was doing about 4 jobs each. The aim was to shoot 3 videos but in Sophie's magical way she managed to cut 5 from the footage. It was all shot underwater in a pool at night in about half an hour. The cameraman was weighed down by a rucksack full of rocks; Mark was just thrown in weighed down by his boots and clothes. When it looked as though neither of them could breathe anymore we'd fish 'em out with the leaf net, but they survived and it is brilliant.

Mansun "Taxloss" directed by Roman Coppola is another great video. Although for me it was not as enjoyable as the Sparklehorse experience, as I spent my whole time in with EMI's legal deptartment, desperately trying to find a way of making this video happen without EMI being sued. It was impossible to get any filming permits without it getting out that we were about to cause chaos at Liverpool Street station by throwing away £25,000 at rush hour. We found a way at the eleventh hour and all was ok.

Boards: In these days of media saturation what makes a good video?

Gent: Something that stands out - normally something that is simple, well thought out and well executed. I know that sounds obvious but too many videos are far too complicated, too many tricks, too many set-ups. If there's only enough money for one day, choose one simple idea and shoot it well. Actually the same rules apply even if you have loads of cash - keep it simple and give it a reason for existing.

Boards: What do you think about the rise of animation in videos? What factors contribute to this trend?

Gent: I've always been a big fan of animation - the fact that your imagination is the limit is the attraction for me.

I'm sure the reason more videos are being animated is simply because it is now possible. Most artists I work with would rather not be in their videos - it's false and bloody boring. But they also understand the importance of the medium, therefore animation is the perfect solution. "Back in the day" of paint and trace it would cost approx. £2,000 per second and take forever. Now of course we have the computer and all things are possible, time and money wise - you still need the talent though, which sometimes people tend to forget.

Boards: Videos often provide inspiration for TV commercials - what do you think about your role as an audio/visual tastemaker?

Gent: Anyone taking risks, trying new things, is in a way a tastemaker. If you don't make mistakes you don't make anything - so someone said once. That's what I love about the directors I worked with on a Radiohead project. They all have the guts to try something new and we have the guts to let them. When it works it's fantastic and when it doesn't you just have to put your head down and move on ... fast.

After seven years with Parlophone Records, Dilly Gent set up her own company Dilly Gent Inc. three years ago. Between handling "a bit of this and a bit of that," she handles nearly all visuals for Radiohead, working with Stanley Donwood and Thom York. This involves commissioning videos, photography, designing sets for TV shows, placement on film soundtracks and producing and directing any small projects that come up. For other artists, her tasks range from selecting designers to design album sleeves to working on film projects.