I think it's cool that people kind of look at me as one of the originators of online video and one of the pioneers of YouTube because I've worked really hard to build an audience and make content that I'm proud of.
I think a lot of people haven't even seen my videos but just hearing my name are like "Oh, that's that dumb Internet thing." And I'm definitely trying to shake that a little bit.
For a million dollars, the Russians would take two people, a million apiece, around the moon and back. However, stories, videos that come from the space station, and other people, are a great inspiration to young people for an exciting career field.
There's nothing worse than a good video and good song, and you see a band and hate them because they can't perform. That's wack.
People don't understand that when I'm on the show I'm totally relaxed, hanging out, having a fun time, watching videos, and being goofy. Sometimes I say stupid comments, just being funny, and people think I'm a dumb person.
With Michael Jackson, what I thought was really interesting was the people saying: 'He looked really well in that final video.' I was, like: 'No, he didn't - he looked like someone had melted goat's cheese over a sex doll.'
It's not an option that you have to buy something in my line. You can hang out, take pictures, shoot video, shout out loud all crazy, whatever you want really, because it's not about money for me. I'm happy to do what I do!
[My work] looks very cinematic because it's not abstract video art. It's sometimes very narrative and since I play with film grammar in my video work, making a feature film was almost the same challenge.
For years, Blockbuster Video has edited movies. Like The Bad Lieutenant, when he's masturbating while the girls in the car are doing the thing. I rented it from Blockbuster and sped to that scene, and it was gone. I called up Blockbuster, and I'm like, "I got an erection, and the scene's not there."
Video games are meant to be just one thing. Fun. Fun for everyone!
I was really into Space Invaders in about 1978. It got me more and more interested in video games. There wasn't any media to get information about games, so I came up with Game Freak magazine.
No matter how much we're on our phones, going to the show is the goal - you look at things online and watch videos and read blogs and comment, all so that you can go in person and see it yourself, and meet these people in real life, and then so you can go home and talk about it again on your screen.
If painters could be compared to filmmakers, Bosch is the Hype Williams of renaissance painters. With Bosch, there's always a narrative that is very nonlinear - and that's the essence of a good music video.
I like making mini-movies rather than just three-minute, place-the-champagne-here-for-sponsorship videos.
I'm so sick of my own music that I don't know if I can edit another video, which involves hundreds of hours of listening to your own song again and again and again. It becomes so grating after a while.
Television is a very different thing from video games. It's kind of hard for me to compare.
I also like to use a sensational headline. Many people read blogs in aggregators, which generally show only the headline. So you have to give people a reason to click through. Blogs need to be real and personal. Reading it should be like hanging out with you. I play music for my readers. I show them videos I like. I tell them what I did over the weekend. And I tell them what is happening in the technology, Internet, and VC markets.
If someone remembers me as a coach, they still call me 'Coach,' but if they know me for the video game, they just call me 'Madden.'
If a company is distributing images and video then obviously they need bandwidth solutions. But if they are looking to the mass market then they must develop WAP sites.
Every single job I do. It sounds goofy but I did a music video for Fergie. I was in full on tattoos, ponytail, but it's like even things like that they help other people to see you in a different light. They give me opportunities. I try and change the image with every job that I can, it's just hard when you work on a TV show and you work so many months and trying to get away from that.
My knowledge of video games ends with Nintendo Mario Bros.
Now there's a whole generation of filmmakers who grew up making their own films with video cameras, and have dined entirely on a diet of popular culture. It's been reflected in a lot of their work. It's self-reflective, it's quite knowing, but it's very literate.
The revolution of video had a massive affect. We grew up in a time where suddenly you could own films. Before, they had a theatrical run, and then perhaps they'd come back, or you'd catch them in a retro cinema.
You have to separate artistic ability from ethnic origin. Not only am I not black, I am also not a woman, therefore how can I direct women? I am also only 42, therefore how can I direct someone who's 60? So you see where the argument ends up? If you take it to its logical conclusion, I would have to walk around and point a video camera at myself. And who the hell is interested in that?
What I realized with Funny or Die is that I could take it into my own hands. On a much smaller scale, I think these videos are an accurate representation of who I am. As weird as they may be, I'm at least proud of them, and it showed that I do have a slightly different voice. I can't tell you how often people bring up these videos in interviews, and I'm so happy to talk about them because we created them from the ground up.
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