The first video I ever made, announcing 'Crash the Super Bowl,' I did about fifty takes and I wanted to die. It was awful.
I wanna design a video game where you'd have to take care of all the people shot in all the other video games.
There's this other world where all comedians want to do is make funny videos. Typically what's happened in the past is that a comedian gets a standup career and over the course of 20 years builds it up to the point where Comedy Central gives them a sketch show.
I think video is the best market. When the cassette market comes out, if you just do movies that nobody else can do, that'll be the new way.
My real experience with video games was watching other people play. That's why a lot of my work isn't really about playing. It's about watching video games.
I've been working with music videos and commercials, they are naturally very music driven and visual driven. So that feels like my natural element to be working with that.
I am convinced that if we lose kids to the culture of drugs and materialism, of violence and war, it's because we don't dare them, not because we don't entertain them. It's because we make the gospel too easy, not because we make it too difficult. Kids want to do something heroic with their lives, which is why they play video games and join the army. But what do they do with a church that teaches them to tiptoe through life so they can arrive safely at death?
I'm a firm believer that before you can go anywhere, you have to conquer the level that you are at, just like young kids do it today with video games, they have to finish one level to go to the next one. Conquer one level at the time, and only then you'll get where you want to go to.
Most of my life, I thought that I would end up a novelist. But then, in New York City, after college, I started a company with a college friend where we made documentary video for museums. In that capacity, I shot, directed, edited and began to learn the vocabulary of film.
I was a choreographer in the '80s and I was doing these videos. I did an Extreme video, which was really weird having them here. I did "Get the Funk Out".
It's like if every single male artist dressed up as farmers. In every video they were on a farm. Whether it was Jason Derulo or Oasis, they're always on a tractor, they're always surrounded by sheep and always in boots. And all the songs are about enjoying farming, and this is all you've had for 10 years - you'd think you were going mad.
I care about making music and I care about creating experiences for my fans with my music and my videos and my performances.
I've done a lot of video games and stuff, and I'm getting better and better at it. I don't have a prejudice about it being a different medium.
You know that that thing is going to be as crisp and as clean, as many times as you want to watch it. So, I knew that the film was going to be watched multiple times, a lot like with music videos. Music videos aren't designed to be watched once. They're designed to be watched hundreds of times. On a certain level, the film was dream logic-ed, like a music video
I will say that I'm going to take full credit for this. I knew Josh [Hutcherson] was going to be a star. One of the things you do, as a music video director, is spot talent. Th at's one of my things. I don't just do random people.
Everybody has something now. It's become very over-saturated, and it's hard to weed out what's good, what you should watch and what you have time to watch. And Twitter was much less crowded, at the time, and it was an easier way to reach people. So, the combination of having a great video, a lot more access to people through Twitter, and having Kickstarter be this new thing in. We tapped into it, at its inception, and got people interested in it just based on the concept of what Kickstarter was. The timing was right.
Everybody gets inspired by different things. I grew up wanting to go up the street with a video camera because I liked watching David Letterman yell out of the ninth floor of Rockefeller Center with a megaphone at people on the street. I thought that was a riot.
No matter what I do, I can't help but feel that I'm under a microscope. Some of it is completely silly, and some of it is meant to be hurtful. For example, a website accumulated all of my music videos to point out perceived Illuminati images. I loved that one. Of course, it was all ridiculous but funny.
On my YouTube channel, I put up 3-4 videos a week, and I spend a lot of money to maintain that content. When I travel, I travel with a videographer and a photographer no matter what.
There is a video out now on how to please men. Here's tip number 1: Just show up!
Maybe we should always show pictures. Bin Laden, pictures of our wounded service people, pictures of maimed innocent civilians. We can only make decisions about war if we see what war actually is - and not as a video game where bodies quickly disappear leaving behind a shiny gold coin.
I never knew I wanted to become a ballerina. I was discovered at the age of 13. I had a love for movement even though I had no exposure to dance other than what I saw in music videos, like hip-hop music videos. But I knew that I loved moving.
This world is bullshit. And just because I appear in music video wherein I am in my underwear, and make young women feel not good enough so that they become anorxeic; and okay, maybe because of that I became popular more quickly than other singers who are, I don't know, maybe more talented or better songwriters. That doesn't matter because, and... um... my boyfriend is a magician, and he can pull a quarter out of your ear and say things like 'We have not met before have we?' Go with yourself.
When we were on the bus doing the Mr. Show Hooray for America Tour there was a lot of laughter and a lot of pot smoking and a lot of speed metal listening and video game playing. Of course that was all Brian Posehn.
I think the best music videos are the ones that have nothing to do with the song. Those are all my favorites.
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