You know, when I first started making online videos, there were a lot of filmmakers I befriended who were doing it too.
Asking others for input puts you in the driver's seat, and may feel less awkward than having to watch yourself on video.
I wanted to tell stories that moved. Nothing stays the same, and that's why photography is important. The world flickers and changes, and that's why video is important.
I never want to make videos with people who don't want to make them with me. I don't want to force people to take part. Only people who want to collaborate. And that's important because otherwise, the videos wouldn't work. Them choosing to take part is very important to the videos.
Although I use myself in my videos, I really see myself as a character. When I look at myself, when I sit and edit, I never think, "That's me." I think, "This is a character, and how do I edit this to tell a story?"
I am not so secretly a comedian. I write a lot of my own material if you've seen videos I've done. I write jokes.
Making a video is one of the most exciting things for artists and fans. It's like a payoff.
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 did get a huge endorphin rush when I was able to crack a system because it was like a video game.
I did Hilary Duff's 'With Love' music video-slash-fragrance ad.
I'm a comic geek, I love playing video games and I love reading comics.
I would love to direct videos and that's what it keeps moving towards, but I have to stop being scared in order to do that.
I've never met Hans Rosling, but I just knew him through his many YouTube videos, and they were absolute dynamite.
My first Top of the Pops I didn't want to do. I was terrified. I'd never done television before. Seeing the video afterwards was like watching myself die.
Video games just can't compare with the variety and intensity of reading.
I'm actually looking for a gallery, but the thing is some galleries just want to show the video work and some are just interested in the 2-D work. It has to be a gallery where I can do the 2-D collages, the video, and live performance, where it's not this weird conflict, where it can all move forward.
One of my favorite occupations is making radio/video edits. I love singles.
So it was a whole experience revolving around "The Evolution of Dance," but wasn't just a company that put an ad on the video.
Having your own character in a video game is pretty cool.
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
The commercial music video industry is very hard to break into, and until you break in, that first job is the hardest thing in the world to get.
I like making little videos and little records. I've always loved video cameras and four-track cassette recorders, still cameras, anything.
Making little videos that you know are going to be on tiny windows is a whole different thing. I don't know what it's going to lead to necessarily, but it's certainly fun.
My YouTube videos have literally millions of views... Yet I'm still airbrushed out of the BBC Stalinist revision of history; the chart shows have been instructed not to play my music!
Most of my videos consist of fragments, one or two minutes long. They are haikus or sketches. I have thousands.
