Going there [Japan] in the early 80s was quite a culture shock. I think the bombardment of Shinjuku and all that would have filtered through, which certainly informed things we later filmed.

I think underneath it all [in the Big Funk] was a little bit of a Europeanness in it.

In that period, we had the Cold War mentality imbued through us - the Post-war [environment] and the Cold War. I think we were reflecting some of that. This was before the Wall collapsed, etc.

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.

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.

This was in the sense that if Dada was reacting to the morality and aesthetics of pre-WWI, then we were very much a reaction to the pomposity of rock that existed within music at that time.

I edited Big Funk, some of the footage was shot by Peter Care. We were film buffs as much as music buffs, and so there are film reference as well as sound references.