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.

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

We were coming from a completely different place, which was saying "sound" is what you want to define it as, and you can shape it into music in whichever way you want.

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.

I think you have a certain level of confidence in what you do. "Arrogance" is the wrong word. I think when you go into it, you're aware that you're doing it for the right reasons - and you have your own moral and ethical code. And we weren't driven by money, but by a a desire to make music and make a statement.

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

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.