We're also a multi-site church, so we have other pastors on other campuses who want to read the message before the video plays on the weekend services. So it just works better for me.
I have to match wits with the ads. Like, there's pop-ups that, like, move around and you have to chase them like it was a video game or something. And then there's ads where, like, you know, the X to, like, close the ad screen is so kind of small that you can't find it and you have to actually go looking for it. And so I spend all my energy - instead of, like, absorbing what the advertiser wants to communicate to me, I spend my energy trying to figure out how to defeat the ad.
Crackdown, the video, interpreted and reflected a sense of authority and austerity and a sense of slight, impending doom.
One of the tropes of our videos is that they were very rhythmic with clipped edits.
When I get stressed out my de-stress default is - not cat videos - but I just watch his surrogates. They're so entertaining. It's like escapees from the Nordstrom cosmetics counter.
As a mode of public pedagogy, a state of permanent war needs willing subjects to abide by its values, ideology, and narratives of fear and violence. Such legitimation is largely provided through a market-driven culture addicted to the production of consumerism, militarism and organized violence, largely circulated through various registers of popular culture that extend from high fashion and Hollywood movies to the creation of violent video games and music concerts sponsored by the Pentagon.
Marked by a virulent notion of hardness and aggressive masculinity, a culture of violence has become commonplace in a society in which pain, humiliation and abuse are condensed into digestible spectacles endlessly circulated through extreme sports, reality TV, video games, YouTube postings, and proliferating forms of the new and old media.
The issues for journalism and journalists, we see obvious places where presentation is very different in a digital space from traditional print. If you go to a New York Times homepage, you cannot get to a story about the Ukraine without a click-off on a banner ad or a slide show. They're not alone in that - you think you're clicking on a video about a news event and you have a 30-second ad that you have to watch before you can get to it.
If our brands are going to be in print and on mobile handsets and in video and events, we have to acknowledge that the playing fields are going to be different than a print-only product or a print product with extensions to it.
People YouTube me and crap and then, they probably don't want to see me after seeing a friendly posted YouTube video, so I'm constantly having to take those down.
So many people have listened to my song because of it - I'm beyond grateful. It's funny because when I met Spencer and Dustin, they were so excited to meet me, but I was like you're the celebrities to me - they're the ones with a video has over 10 million views.
There's a video that's been floating around on YouTube where [Baz Luhrmann says], "We were looking for a guy that sounded like a young Stevie Wonder but much more we got a guy that sounded like a younger version of Aretha Franklin. His name's Quindon Tarver." I was just like, "Wow, to be compared to her."
A lot of, a big problems that people have nowadays is that they can't stand moments of no stimulation in their life so they're constantly lurking, looking for entertainment, video games.
Now with the international space station generating a bunch of video, and Space X and other companies pursuing private space flight, I think it's on all of our radars much more than it has been since the moonshots. The science of filmmaking is making these visions possible now.
I think once you've seen a song with a video, it limits your own mind's ability to read into it anything other than what you've seen.
I'm known as being a massive dweeb who's into video games and so on.
My definition of fake news is a content-like object that is a story, an article, a video, a tweet that has been fabricated, completely invented out of thin air, intentionally for the purpose of misleading.
There are certain ways, narrative forms, that do not function as a continuation, for example, of 3D movies. You see, what is obvious to me is virtual reality or immersive 360 degrees virtual reality is not somehow a part of 3D movies, and it is not a new form of video games, it's neither, it is something completely new, something different, and nobody has come up yet with real convincing content.
When we did the first sequel [of the Austin Powers] , it was on coattails of the first one doing so well when it was released on video, so we really didn't know what to do with the second plot.
When I first had a video camera to document a performance, it was in Sweden and I remember it was really crucial for me.
I didn't give any instruction to the video, because it was a new medium. I didn't know what to tell him; it was so young. I did the piece and immediately after the piece, I wanted to see the material.
Today's evangelism is just as likely to take place via chat rooms and viral videos as it is in a personal conversation or a sermon.
Even with a small video we will always be able to do a small movie with friends and to show it to someone. You won't get the Oscar for it. But, after all, why are you writing and why are you filming?
Movies will continue one way or another. Maybe on video. Even on video games. You have to look at it, if you have children, or if you are linked to children, because it's new for them. This has not disappeared; the look of a child who is discovering the world, whatever it is.
From 8 to 19, I was skateboarding every single day. That was my life. I worked at a skate shop. I watched skate videos.
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