We were engaged to do the job by Mike Hodges who was the director of Flash and Dino De Laurentiis, who was that famous Italian film producer who always thought big and some people would have said didn't have any subtlety. But, in fact, he had a sense of something unusual. He made that huge remake of King Kong – billions of dollars – but the combination of him and Mike Hodges was very odd because for Dino it was a very serious film engaging the top-level talent in Italy and to Mike it was a spoof. So there was this clash, and I'm pretty sure it was Mike's idea to engage us for the job and what happened was we went in and saw some of the rushes of the film and loved it, and we all went away and made some demos separately, Roger, John, Freddie and me, and there came a day when we all got in the studio and played them back to Mike and to Dino and asked: “This is what we've come up with. What do you think?” There was a horrible moment when Mike jumped up and down saying, “it's brilliant, it's brilliant”, and Dino sat there with a face ashen and white as a sheet and obviously didn't enjoy it, and when it came to the theme I had written – you know, Flash – well, Dino said: “It's very good but it is not for my movie.” So we all got a bit glum and went away. But what I think happened was Mike went to Dino and said: “You got to have faith here. This is something that is going to work and Brian has actually captured the essence of the movie in this piece of music.” But it was a big adventure in those days. I don't think there had ever been a feature film with background music done by a rock band before – it was a real dangerous departure. You had to have your base of strings to create emotion. It had never been done. And to his credit, Dino did come around and was very supportive.