"It was so completely different that I knew the punters would like it. It was something you could pogo to, so it was a winner for punks and, among these punks, were the people I really wanted to get at - the people who read music papers, the active ones. So I made sure we got a really good poster campaign. I used Bill Smith to do the designs - quirky but right for the time, a little bit different. "The design certainly wasn't to Robert's taste, I knew that, but I wasn't terribly concerned. I just wanted him to concentrate on the music. He had a lot of good songs and I was worried we weren't gonna get them down or that someone would come along and do them better. "I thought, 'this band are just enjoying themselves too much; they lack weight, lack concept, lack awareness of what they've got in their hands'. So, I picked this old man's face, reserved it to make it look more ugly, than put it out on posters throughout London." Chris Parry on Ten Imaginary Years (1988)
"The reaction was astonishing. One minute we were nothing and the next we were the New Existentialists." Robert Smith on Ten Imaginary Years (1988)
"The thing about Killing An Arab is that it is only a reference point in our career, but it could have been a millstone. I can't understand it, but when people have an idea of the typical Cure sound, that's it. But that's just from that era. It's good that we got away from that sound because it could have killed us." Robert Smith on A Visual Documentary (1988)
