Really there had never been a rock soundtrack to a movie that wasn't about rock music before. Up to that point, it was considered impossible. Even Mr De Laurentiis said it'd never work. It was Mike Hodges, the producer [sic], who brought us into the project, and I think there was a fundamental gap between his view of the film and Mr De Laurentiis'. Mike Hodges really made it into a cult film by being very self-consciously kitsch, whereas Dino regarded it as an epic and not to be messed with. I'll never forget: He came to the studio, sat down and listened to our first demos and said, “I think it's quite good, but the theme will not work in my movie. It is not right.” And Mike walked over and said, “A chat with you, Dino. You don't understand where this film is going to be pitched…” But I had a really nasty moment there, “Oh no, he hates my “Flash… aaaahhh-aaaaaahhh”, and it's going to go on the cutting room floor.