My calendar says it’s the first day of Winter today, so I figured I would spotlight this Tori Amos song. I have only talked about one other music video of hers so far. That being Silent All These Years. Basically everything I said about that music video applies to this one too. The only difference is that this time director Cindy Palmano populated the music video with coming-of-age imagery. It is even as misleading in that it also primarily sells Amos as a the girl with a piano, which is how they marketed her at the beginning. It looks like it took till Cornflake Girl and/or God, depending on whether you look at mvdbase or IMVDb, before they hit on the kind of music videos that get across what you are in for with Tori Amos.
To my knowledge, they continued doing work together photo-wise into the mid-to-late-90s even though they stopped doing videos after 1994, according to mvdbase. It makes sense since while Palmano’s videos are certainly beautiful to look at, they really showcase her talents as a photographer rather than capturing Tori using the medium of a music video. To be fair, her first album is different from her subsequent stuff, so it is kind of like complaining that a writer isn’t describing Francois Truffaut correctly when the only movie of his they have seen is The 400 Blows (1959).
For whatever reason, IMVDb has quite different information about her early videos. IMVDb says 1991 for Silent All These Years while mvdbase says 1993. I am trusting IMVDb since Silent All These Years was released as a single in 1991. It makes more sense to me.
I don’t have much to say about this Spike Jonze music video. This was the same year Jonze did Buddy Holly, Sure Shot, and Sabotage. It’s a simple little indie music video. They probably had an afternoon to shoot in a little hotdog stand, so they made this video.
The reason I am spotlighting it is because I felt it was necessary to do this in between Dog Police and Da Funk. I am not sure whether Spike Jonze and drummer Tony Maxwell were already friends at this time. Maxwell would go on to do other things including playing Charles from Da Funk by Daft Punk that was directed by Spike Jonze two years after this video.
Let’s do the Erics in one batch. Eric Zumbrunnen edited the music video. He also edited Buddy Holly by Weezer, It’s Oh So Quiet by Björk, Where It’s At by Beck, and Weapon Of Choice by Fatboy Slim, among a couple of other music videos. He would go on to edit some feature films like Being John Malkovich (1999), Adaptation (2002), Where The Wild Things Are (2009), and Her (2013). Eric Matthies was the producer of the music video. He shot two music videos for Nine Inch Nails that were both directed by Eric Zimmerman. Matthies also has a bunch of producing and directing credits on IMDb. Yep, there’s three Erics tied to this music video for some reason.
Speaking of “for some reason”, Tony Maxwell is credited at the start of this music video as “Yoga”. You got me. However, that means Weapon of Choice had a “Philosophical Consultant” in K.K. Barrett, and this one had someone credited as “Yoga”. Maybe Jonze just likes to oddly credit people. Again, you got me.
That Dog would last till 1997 before reuniting in 2011. There are at least two more music videos for them where the band turns more and more into late-90s groups like Garbage and No Doubt in terms of looking polished and colorful. I feel like if I did Never Say Never and He’s Kissing Christian, then I’d need to do the two versions of Ready To Go by Republica and Don’t Speak by No Doubt respectively to go along with them.
Seeing as Lisa requested I do Da Funk by Daft Punk, I thought it was appropriate to do a couple of other music videos leading up to it, including this infamous one.
Back in the 80s, there was a show on MTV called Basement Tapes. I can’t really find much information on it. As far as I can tell, they would air DIY music videos that were in a competition on the show. This music video was on it. Of course, decades later, YouTube got ahold of it, and now its truly the stuff of legends. This even spawned a failed pilot for a TV Show with Adam Sandler & Jeremy Piven called The Dog Police. Hopefully the video is still below.
It might seem crazy now, but remember that this was during the period when the cop-dog thing was at the height of its popularity courtesy of movies like Turner & Hooch (1989) and K-9 (1989). Other famous failed cop-dog TV Shows are the horrifying Poochinski and the short-lived Tequila and Bonetti.
Dog Police were a Devo-inspired band out of Memphis. To my knowledge, some, or all of the members now help teach music. At least that’s what one commenter on a 2008 article over on Stereogum said:
“Hahaha I just found out about this video, from the lead singer actually. I attend Southwest Tennessee Community College in Memphis, TN. As it turns out, the fellow who has been my mentor for a year on bass, guitar, and vocals is the bass player in pink, and the very knowledgeable drum/music theory professor is the lead singer. Trust me, this isn’t exactly something they’ve been bragging about, but Tom Lonardo (lead singer) showed it to a couple of students for some giggles this morning. The bassist is Sam Shoup. Both of these guys are very sought-after Memphis musicians in their respective talents. Sam arranges for the Memphis Symphony Orchestra, the Orpheum theatre, and plays for the Memphis Opera when he’s not sessioning at Ardent Studios. Also, he is currently the director of the Jazz Ensemble at Southwest. I’m not sure what all of Tom’s endeavors include, but he is always playing around Memphis somewhere or lecturing at Southwest. Both of these guys have very generously set aside time to teach the eager young musical minds of tomorrow when they’re not doing their thing out in the world.”
There’s also a quote from the director there:
“I directed this video in Memphis in, I think, 1984. It was produced by Wayne Crook, the dog masks were created by an amazing guy named Bill Kopfler, and the cinematographer (16mm) was Larry McConkey, who overcame this experience to become one of the most revered Steadicam ops in the world — 100+ features and still going strong. Proof of his skill: the chorus shot at 1:32 is NOT fast-forward, it’s real time. Larry ran backwards with the Steadicam, turned a corner, then down 4 steps at the end of the shot, all the while keeping perfect framing. As I recall, he nailed in either 2 or 3 takes! Maybe not as unbelievable as Larry’s legendary two and a half minute Copacabana shot in Goodfellas, but amazing nonetheless!”
He isn’t kidding about Larry McConkey. Some of his credits include World War Z (2013), Django Unchained (2012), Hugo (2011), Shutter Island (2010), Kill Bill: Vol. 1 & 2, Vanilla Sky (2001), Bringing Out The Dead (1999), Showgirls (1995), Free Willy (1993), Silence of the Lambs (1991), and a movie I still keep meaning to get around to seeing, Seven Minutes in Heaven (1985). At the time of writing this post, he has 129 credits in the Camera and Electrical Department section on IMDb.
Seeing as he was the steadicam operator on numerous Martin Scorsese films, that means Scorsese might have seen this music video. I love the image of Scorsese watching Dog Police. It’s not unrealistic. The third credit listed on IMDb in the Camera and Electrical Department is for After Hours (1985).
In addition, Larry McConkey worked on Three Kings (1999), which had Spike Jonze in it. Larry McConkey worked on The Good Shepherd (2006) that was produced by Francis Ford Coppola. This one is weaker, but since he worked on Kill Bill: Vol. 2 (2004), it means he also has ties to Sofia Coppola since she got a “special thanks” credit. He worked on The Freshman (1994) with Marlon Brando. He also worked with Sofia’s cousin Nicolas Cage on four movies, including one of his earliest credits for the movie Birdy (1984). Since he worked with Nicolas Cage, that means that Dog Police has a connection to both the group That Dog and the music video for Da Funk through That Dog drummer Tony Maxwell and the character of Charles (Dog Boy) from Da Funk that he played seeing as he was also Cage’s body double in Adaptation (2002). Spike Jonze directed a music video for That Dog. McConkey worked on Little Nicky (2000) with Adam Sandler, which in turn means he connects the failed The Dog Police show into all of this. It all connects. He also won a lifetime achievement award from the Society of Camera Operators. You can go on and on with more McConkey connections, but I stop at the realization that The Godfather (1972) is connected to Dog Police.
I have mixed feelings about Dog Police. The song is like a cross between Devo and a Queen-like chorus. I just realized where that chorus comes from. It’s from the Spider-Man Theme Song by The Electric Company. Here is a particular episode of the show that also ties in with Dog Police and Da Funk.
That means Dog Police is connected to Marvel and Daft Punk had one of their songs used in Iron Man 2 (2010). That is also Morgan Freeman narrating who was in two movies that were worked on by Larry McConkey.
Getting back to what I was saying, the first thing I noticed about this song was how unbelievably catchy it is. It’s no wonder that you can now just listen to the song on that new YouTube topic thing.
I also noticed that if you watch the video closely, then you are seeing a woman who is persecuted because of presumedly liking to have sex like a dog. The bartender tips this secret police force that then comes in and drags her away to who knows where. However, since they are dogs themselves, it means they are not just a secret police, but a hypocritical secret police. A perfect fit for the 80s. I love how the waiter gives a short, but heartfelt performance in this.
It would be great if that was all there was to this music video. Da Funk has similar themes where someone who has always been different from everyone else, moves to the big city, and finds themselves dealing with having to get around on a broken leg, being a dog person, and being so tied to his radio because of its connection to his youth that he can’t get rid of it even though it means he has an opportunity to connect with an old friend in a new place snatched away from him. Unfortunately, while Da Funk does it right, Dog Police muddles the water. It doesn’t just have a clever political message. It was also meant to be funny in a crude manner and introduce the band to people. As a result, it gets its semi-offensive comedy mixed in with the other part.
Its still a lot of fun. I half wish they had fixed that issue. But that would also mean this amazingly ridiculous thing wouldn’t exist. I don’t want that.
The music video was produced by Wayne Crook, directed by Joe Mulherin, and the dog makeup was done by William Kopfler.
At the time of writing this post, I only now found out that official lyric videos are a thing. I guess they figured that if enough people were making them, then they might as well do it themselves. There’s also at least two other semi-official music videos for this song as well. One is a remix and the other was constructed using concert footage. I’m not doing those ones.
If you’ve only seen the version of this where they used marketing most people are familiar with as an analogy, then this one is worth your time. It isn’t really a lyric video in the traditional sense, but one that gets to the point while also throwing in some lyrics here and there. Just like that other version, this one is also worth downloading and looking at carefully. They did a good job filling it with all kinds of subtle details to go along with the obvious stuff.
The thing I like best about this music video is that while I still find that it unnecessarily breeds paranoia and is counterproductive, it doesn’t feel patronizing like the other one. It relies on you using your brain and looking deeper into things that aren’t obfuscated by bashing heads, gay for pay, and other nonsense.
One example is that they go through several artists to show that they register on the Google Knowledge Graph until they reach White Sea, which results in a Wikipedia entry. They then cut to White Sea having a Twitter page and Joywave, that showed up in the Knowledge Graph, having a Facebook Page. The obvious part is that the Google Knowledge Graph pulls together all kinds of information including birthdates into a central location. The more subtle part, that is quickly glossed over by the runtime, is that it implies that the Knowledge Graph places more weight on an artist having a Facebook page than a Twitter page. It also reaches back to the overarching idea that “Big Data” is useful for predictive algorithms that allow things like autocomplete and targeted advertising.
Another example is that the video actually takes place over several days. They don’t really draw attention to it either. If you just watch the upper right hand corner throughout the video, then you’ll notice the different times, the changing battery levels, and other things up there.
At the end of the day, I am obligated to like this as an EECS major because it is probably the only music video I will ever see that has the kmalloc function in it. It is in one of the lines of code that pops up when they go to hackertyper.net.
The posting on YouTube tells me that this music video was directed by SCANTRON and Greg Yagolnitzer. SCANTRON has done numerous music videos, including several for Weezer. I am assuming it is a pseudonym, or a name used by different directors who work for Scantron Films. I can only find a couple of animation credits for Yagolnitzer on IMDb, but a quick Google search turns up a few other music video credits.
I’ve sat through a bunch of paranoia “documentaries”/propaganda, movies where somebody thinks they are the first person to discover the sky is blue, and watched too many reviews of Internet horror films this year. In particular, I remember one piece of propaganda masquerading as a documentary on Netflix that said if you take your kid down the cereal aisle, then it is like shooting heroin into their veins. As a result, I am pretty apathetic about this music video.
At the end of the day, it’s well-done. There is another version of this music video that uses the Unfriended (2014) screenshare-style that even references Chatroulette in 2014 like that movie did. I prefer that version. I think it’s more clever and to the point.
I think films like this are counterproductive, but if are going to watch it, then download it so you can look at it more carefully. They stuck in some Easter eggs that you are likely to miss if you can’t take it frame-by-frame. YouTube just doesn’t have that kind of fine-grain control. A couple of examples are the board they are writing on that says “Sustainable Earth” at the top of it and the actual words on the notepad that the guy is drawing a penis on.
I wish I had more to say. It’s one of those things that you’ll either love or think is pretentious garbage. There isn’t much middle ground in my opinion aside from appreciating the attention to detail that went into making it.
The directors of this music video are probably best known for their pornographic music video they did for Taggart And Rosewood called Drone Boning that was shot using a drone. It earned them a nomination at the SXSW Film Festival.
I was going to try to get clever with Yankovic’s lyrics when it came to my own personal experience watching The Phantom Menace (1999) in theaters to start off this post. However, the best I could think of was that they might as well have locked the doors because the film was certainly trying to kill us. All these years later, the best thing about the prequels is still this song.
I haven’t seen The Force Awakens yet. It is currently at 187 in my Netflix queue. I’m not that excited. Mission: Impossible III (2006) was pretty bad. Star Trek (2009) was good, but I have no desire to see it again. Super 8 (2011) was fun in theaters, and when The Force Awakens (2015) came out, I had to look up the name because it was that forgettable. Star Trek Into Darkness (2013) was certainly a movie. I can’t say anything about it because it went in one ear and out the other too. Still, just like the other two prequels, I will see it and the other ones that Disney is going to make because…well…nostalgia and all. They can’t possibly have an actor in them that gives Alan Bagh a run for his money in the wooden acting department like the second and third prequels did. I am expecting it to be a Marvel movie, just like the live-action remakes of their old animated IP.
As for the music video and song, I don’t need to add anything. If you haven’t seen The Phantom Menace, then just listen to this song. It sums it up nicely in about five-and-a-half minutes while also being a fun parody of American Pie by Don McLean.
If it is still up, I have included some concert footage of Al from last year for The Force Awakens that includes this song and the one specifically about Yoda.
Beth LaMure and Craig Armstrong were producers on the music video. I can only find a few credits for LaMure, but her IMDb page tells me she worked for many more artists. Armstrong has gone on to do TV Series producing such as on Supernanny and Extereme Makeover: Home Edition.
Clyde Smith is credited for photography. He has worked as a cinematographer on many music related specials.
Dan Butts was the art director. He has worked as a production designer on TV stuff. He has also been the art director on a bunch of Playboy movies. No, that doesn’t include the one directed by Michael Bay.
Matthew Mungle did make-up. He seems to have been the most successful one and has been working in movies since the early 80s. We aren’t talking small movies here either. The list of his some 230+ credits go on and on. He won an oscar for Bram Stoker’s Dracula (1992). He even worked on Monster High (1989), which I reviewed for October 2015. I only bring it up because it has a scene that parodies the Emperor lightning hands scene from Return Of The Jedi (1983).
Enjoy both the music video, and the new Star Wars movie.
Did you know that if you are waiting in a long line in the heat with a guy that kind of looks like a cross between Martin Fry, Tony Hadley, and Philip Oakey, then you will become a dancing version of Michael Douglas in Falling Down (1993)? Director Warren Kommers knows. I like that it is a DMV line seeing as our hero has a Sammy Hagar moment with a cop before involving the other zombies from the DMV line in a dance that reminded me of Thriller. If your song is already called The Walker, then there has to be some Thriller reference in the music video.
I stopped listening to the radio a few years ago when I discovered my phone could play whatever I wanted in the car. However, I was still listening to my local alt-rock station a few years ago when this song became one of what seemed like five songs they played on an endless repeat. Thank goodness for our on demand world. It means that if a good song turns to crap from being overplayed, then you only have yourself to blame. Now that I am hearing it on my own terms, I like the song.
I find it funny that Michael Fitzpatrick does bear a resemblance to the very 80’s singers that he sings like. He was quoted in an interview describing the band’s, and his own, musical tastes:
“We [the band] all have a love affair with soul and funk music. For me, it’s obviously Otis Redding, Marvin Gaye, the Supremes, all that stuff. My musical taste runs the gamut from Radiohead to Zeppelin to Major Lazer. My older brother was really into ’80s new wave, so a lot of the first records I got to borrow and steal were his.”
When I read that, I think ABC’s When Smokey Sings:
It looks like Warren Kommers is relatively new to doing music videos. He’s been working in movies and television since at least the early-2000s, but the first music video credit I can find is from 2013. He seems to like disconnected body parts, whether that be via gore, or laying bare the special effects that allow that to be done. Two of his videos for Big Black Delta showed the behind-the-scenes stuff. He also appears to like playing with flashing bodies that may change or just distort in some fashion. You can see changing in the video he did for When You Were Mine by Night Terrors Of 1927. Out of all of them, The Walker is my favorite.
James Fitzpatrick edited the music video and has worked with Kommers on three different music videos. He is responsible for the visual effects on the two Kommers’ directed music videos for Big Black Delta. He also edited a couple of music videos for director Megan Thompson. He was nominated for a VMA for his editing on this music video.
Candice Brittain did costume and wardrobe for the music video. She has around 30 credits for music videos, mostly in the department of wardrobe stylist according to IMVDb.
I recently decided to pin a tweet to my account saying I’ll take requests for music videos to do here. Lisa jumped on it in short order. Of her requests, I decided to go with this one first.
I was originally planning to go back and try to put this music video in some context, but I have a bad habit of biting off more than I can chew. If I were really to do that, then I would probably be going back at least as far as 1978, if not back to the 1960s. Forget that, I’ll get to those music videos in time. You don’t have to know anything about where elements of this music video come from to enjoy it.
The Chemical Brothers were probably my first introduction to this style of music. It never really stuck with me. I remember there being some show on MTV that generated screensaver-like patterns to songs such as Block Rockin’ Beats. That was enjoyable to catch late at night. But like I said, this genre of music never really became a thing for me.
I like the song, but it’s the music video that interests me. I won’t lie. I took one look at the thumbnail for the music video, and thought of Running Up That Hill by Kate Bush. Then I hit Michel Gondry’s IMVDb page and a few music videos caught my eye. He has done some for Björk because of course he has. Two other music videos that jumped out at me were Blow Me Down by Mark Curry and Les Jupes by RoBERT.
There’s a constant theme of distortion of reality in Gondry’s work. For example, you can see this in 1995’s Like A Rolling Stone by The Rolling Stones. You can see the spinning of reality to reveal fantasy in his version of Sheryl Crow’s A Change Would Do You Good where it’s a viewfinder rather than something you would expect in a musical. You can see the clock in Feel It by Neneh Cherry. Another interesting one to look at is Hou! Mama Mia by Les Negresses Vertes.
You can go on and on here piecing this music video together from Gondry’s previous work, but I won’t. To really do it justice would require doing a full retrospective of Gondry’s music videos.
You can go through and interpret the video. I’ll leave that to you. Gondry doesn’t make it cryptic. My favorite part is the television test pattern. I like how the clock is normal at the start when she wakes, blank when she goes to sleep, and giant when she buries herself under her covers at the end. The hour hand does a horizontal flip between the way it is shown at the start as opposed to the end. Also, the blank clock has the drum set on top of it that progressively moves from the sidewalk across the street to being in her apartment.
Just enjoy it! I did. Thank you for the recommendation, Lisa. Someday I’ll get around to going through all of Gondry’s work that I can get my hands on.
Georges Bermann and Julie Fong produced the music video. They both worked mainly with Gondry.
K.K. Barrett was the art director. I can only find a couple of credits, but three of them happen to be ones that have already been done here. He was the “Philosophical Consultant” on Weapon Of Choice by Fatboy Slim. I still have no idea what that means. He was the production designer on Elektrobank by The Chemical Brothers. He was also the art director for Tonight, Tonight by The Smashing Pumpkins. That means they hired an art director who is famous for working on a remake of a classic example of Cinema of Spectacle (A Trip To The Moon), would go on to do a Fred Astaire inspired music video, and had already done a music video with The Chemical Brothers. Even more so, he was doing music like this known as electropunk back in the 1970s with a group called The Screamers. You can see him on drums in the video below–assuming it is still up.
He has also worked on famous films like Her (2013) and Lost In Translation (2003).
I am not going to pretend I know much about Liz Phair. She’s one of those 90s artists that largely flew under my radar. I remember hearing briefly about Exile In Guyville and how it was a response to The Rolling Stones’ album Exile On Main Street, but I’m pretty sure I never picked up any of her stuff till the early-to-mid-2000s. If I had to describe her, then I would say to imagine Sheryl Crow if she were more indie and had more punch to her lyrics. A good example of this, that I actually own, is the song Polyester Bride. By the time this song came around she was moving more towards a soft-rock sound that you would get from Crow. In fact, Phair provided background vocals on Crow’s Soak Up The Sun, which is when I lost interest in Sheryl Crow.
People didn’t take kindly to this trend in Phair’s music because of course they didn’t. She was hardly the only one to go down this path in the 90s. Goo Goo Dolls used to be a band inspired by Hüsker Dü before becoming one of the most pop-friendly bands of the late-90s after the success of the song Name. I remember stories about Dave Matthews Band early-on letting their fans plug recording devices directly into the soundboard at their concerts. Barenaked Ladies also changed with times. The list goes on and on. Phair isn’t special in this area.
Why did I pick out this particular Liz Phair music video? I wanted to feature a Liz Phair music video and it was the first one that popped up when I did a search on YouTube. That’s really it. Luckily, it turned out to be an interesting one. It’s like Limp Bizkit’s My Way and Taylor Swift’s Shake It Off. It plays with cliches. In this case, it mainly sticks to album covers, but it also has one of my favorite music video cliches: The White Dimension. This has been a thing in music videos since at least the mid-70s. You can see it in Waterloo by ABBA back in 1974 to Guerilla Radio by Rage Against The Machine in 1999. System Of A Down did it 2002 with Toxicity. The Mighty Mighty Bosstones did it back in 1997 for The Impression That I Get. Even Taylor Swift’s Shake It Off from 2014 did it.
I know why it started. Early promo videos often stuck a simple backdrop behind the group and had them perform in front of it. ABBA did this several times in the 1970s. I assume it is something a director does when they want to clear the screen of any other distractions except the artist. It seemed to be a popular thing around the time of this video.
I could be reading more into it then there is, but the jukebox at the start does appear to pick out the number 67, which would coincide with Phair’s birthdate in 1967. That would also match the album being self-titled in much the same way as Sheryl Crow did with her second debut album. This is probably one of the reasons she received extra backlash on this song since she seemed to be indicating it was a reboot of her career, yet it was produced by the same people (The Matrix) who did songs for Avril Lavigne, Britney Spears, and Hilary Duff. It’s not exactly the adult material people were used to getting from Phair.
While Phair herself directed some of her early music videos, they went with veteran music video director Phil Harder for Why Can’t I? He is still working today with around 150+ music videos to his name.
Veteran music video cinematographer Thomas (Tom) Marvel, who appears to be about 10 music videos from hitting 100, shot it. If there isn’t a society for prolific cinematographers you have never heard of because they mostly shoot music videos, then Daniel Pearl and Thomas Marvel need to found one. If The Sons of Lee Marvin society exists, then certainly this can be a thing.
JoLynn Garnes was the editor. Her credits are a bit more spotty, but she has dabbled in several areas of music video production. She sticks mainly to editing. She appears to be still working as an editor today.
I’ve mentioned this song several times as an odd exclusion from Clear Channel’s post 9/11 no-no playlist, so I figured I’d actually get around to talking about the music video. I was going to do a ZZ Top video, but their stuff really needs a retrospective to do it properly. They not only have an interesting history with MTV that got them a whole chapter in the book I Want My MTV, but the videos hang together. That said, AC/DC also has an interesting history with music videos as well. While this is one of their best, you can go all the way back to 1974 and see them performing Can I Sit Next To You Girl? with original lead-singer Dave Evans. That’s quite the trip. It gets even weirder if you go back to Bon Scott’s 60s band The Valentines singing Build Me Up Buttercup.
Of course the weirdest has to be watching Rick Astley do Highway To Hell.
Thunderstruck is a great song. It’s classic blood-pumping play-to-the-back-row AC/DC.
Prolific music video director David Mallet made it. Among his many other credits, he directed 12 music videos for AC/DC.
David Gardner edited it. He worked on a few music videos. They were mostly with director Nigel Dick.
Bill Laslett was the art director. He seems to have been the go-to person to be the production designer on award shows and concerts after 1995 or so. That’s hilarious considering this music video. Before that, he worked on television shows.
Jacqui Byford was the producer on this music video. She doesn’t appear to have done a bunch of music videos, but they are memorable ones. She did White Wedding by Billy Idol, Photograph by Def Leppard, Total Eclipse Of The Heart by Bonnie Tyler, True by Spandau Ballet, and Distant Early Warning by Rush, among others.
Peter Sinclair is the star of the show. The reason I go back to this particular AC/DC music video over and over again is for the cinematography. He has done a bunch of TV and music work. Just like Laslett, some of them have been concert films. It’s a little difficult to pin down his credits, but he seems to have shot Material Girl by Madonna.
He also did some directing, such as for Karma Chameleon by Culture Club.
I love his work here in particular. It seems like everyone came together well here to produce an excellent music video.
Through the Shattered Lens 