We were fortunate at that time we were working with Virgin, and with Flood, probably more well-known as Brian Eno's engineer now and U2's producer, etc. Even though we weren't working in a strictly popular music area, which was great, we were lucky enough to work with people who were on the cusp of those sort of things.

In the 80s, we were still living in a kind of Cold War environment.

I think we saw our reaction coming from Dada, but at the same time, it formed into punk, which was very much a reaction to the social conditions. That was part of it for us as well, and that's why we were kind of swept along with punk.

We've always been observant of things, and I think Crackdown was very much like that and the film interpretation was that journalistic view of that situation.

Crackdown had Dave Ball playing on it. Flood worked on our next album, and Adrian Sherwood worked with us on Code.

I think what we tried to do lyrically, vocally and musically was to capture a sound.

Some of it was shot in Berlin, but a lot of it was filmed in Hamburg, along the Reeperbahn in Hamburg in the famous red light district. Kino is obviously German and "film" and "cinema" and we were always cinematic in our thinking.