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.

We also worked with Marshall Jefferson for Groovy, Laidback and Nasty. So we were lucky to work with some really great people.

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.

[Kino] worked really well as a song title, and to build into a lyric, and also how we embraced mulit-media at the time.

I think that's the fascinating thing that exists now. This contrasts with a celebrity art and celebrity music culture.

We were iconoclastic. We weren't there to sort of follow the trends really. So it was important that we were making a statement against that.

As sonic journalists, we were increasingly becoming bombarded with global images. It was the early idea of the cut-up, the idea of images being juxtapositioned, which we were doing with sound. That was the early days of samples.