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We went into that knowing that we were never going to sell a major record 'cause we didn't sound like these bands, so I just thought this was an opportunity for us to make the kind of records that we wanted and make some money at the same time.

We were contracted to make a soundtrack album but there really wasn't enough new material in the movie to make a new record that I thought was interesting.

No, United Artists was a very extraordinary organization, because once they had agreed on the director, they believed in letting him have his way. They trusted me, and that doesn't often happen.

I got caught up in doing records for other artists. I just stayed behind the scenes, and time just kinda passed.

I think it was probably down to the fact that we weren't together personally as a band. We weren't pulling in the same direction. I always feel if you're having a good time in the studio it actually comes across on the tape and that was a bit of a miserable album for us.

It is immensely enjoyable to work for an album because there's a lot more creative freedom. In films sometimes, all that the makers care about is making the music commercially appealing.

Once I got a record contract, and I took my songs which weren't quite finished, or maybe they were a good idea, maybe they weren't. I took them into the studio and developed them. They came to life and they evolved... and they're great.

I put together amazing records, whether that's finding the beat or putting the right hook on there, and picking the right artists on the record. That's me being an A&R. And I'm making sure that they give me their best.

I was an artist, I was executive producer on my first album, so I've always had to manage both. I couldn't get a record deal. It wasn't by choice - I couldn't get a record deal, so I had to figure it out.