MSN: Let's start off talking a little bit about your
                         background and what records you've worked on . . .

                         Flood: Well I started off in 1978 as a humble runner at a
                         recording studio in London and I worked my way through the
                         ranks of being an assistant engineer and then record house
                         engineer, then went freelance and ended into production along
                         the way. In my sort of engineering phase let's call it, I worked on
                         various different types of bands-Soft Cell, Psychic TV, Cabaret
                         Voltaire, the Associates, people like that. I also did a lot of the
                         high-energy dance stuff that was big in the early to mid '80s here.

                         Then I reached culmination of engineering status engineering the
                         Joshua Tree. That was the first inroads into working with U2. After
                         that I went through a period of production/co-production
                         engineering with bands like Erasure, Book of Love, Renegade
                         Soundwave, Populated Self, Nick Cave.... As the late '80s
                         dribbled out, I was pretty much full on production with bands like
                         Nitzer Ebb, Depeche Mode, Nine Inch Nails, Curve, Charlatans,
                         obviously more U2-Achtung Baby, though that was kind of a step
                         back into more hands-on engineering and Eno and Lamwell were
                         the producers on that, even though by the end I think my input was
                         sort of junior production in the sonic department. Then Smashing
                         Pumpkins, PJ Harvey, and that brings us up to date.

                         MSN: So how do you approach the production with each new
                         artist?

                         Flood: My main criteria for doing anything is I have to like the
                         music. I've got very broad taste in music, obviously. And you have
                         to get on with the people. So when you're approaching something
                         from word one, usually it's a) because you like the music, but b)
                         because the people actually want to try and push
                         themselves-people who want to try different things or move into
                         slightly different areas than where they're perceived or trying
                         encompassing different ideas.

                         Hence, that's why I can be working with a full-on synth computer
                         band one minute and then just a straight-ahead three-piece,
                         two-piece in a room with two mikes. Really every project is totally
                         different how you approach it. You just have to have a sense of
                         feeling of what the band wants and you're there to take what they
                         have and what they want and encourage that and throw it back to
                         them to push them on further.