I think probably underneath it all, film [Kino] has its own rhythm and its own dynamic, and we were trying to capture the movement of film and cross-reference it with music.

One of the tropes of our videos is that they were very rhythmic with clipped edits.

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

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 were sort of coming from an angle where we wanted to break rules.

We were responding to a period in the 70s when we started that it was very much you cannot be involved in music unless you studied to do music.

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.