Music Video Theory

Natasha Pincus graduated in 2002 with first class honours degrees in Law and Science. She practiced entertainment law at a top-tier Melbourne law firm until 2004, before hanging up her suit to focus on her writing and directing career. Natasha had been working as a writer since her teens, having written the acclaimed plays I’m Your Mother, Remember Me and Risk. In 2004 however, Natasha moved into the film industry and has since written a number of short and feature film scripts. EMMA AND THE BARISTA screened at a number of international film festivals - winning the Platinum Remi (Short Drama) at the Worldfest International Film Festival – and has been broadcasted on ABC (Australia), SKY, HBO, and HBO Latin. Natasha wrote, directed and co-produced the Australian Film Commission-funded short, LOVE’S LABOUR, which was honoured with a Dendy Award nomination for Best Short Drama at the 2007 Sydney Film Festival, and screened at more than fifty film festivals worldwide including Inter

Jordan Kim moved to Los Angeles in 2005 to work as an artist and designer for Tim and Eric's show "Tom Goes to the Mayor" on Adult Swim. From 2007 to the present he's been working as a writer, director, and animator for the Nickelodeon children's show "Yo Gabba Gabba!" In addition, he's directed both animated and live-action music videos for artists such as Daedelus, Sam Prekop, Teams vs. Star Slinger, and Toro y Moi. His work has been featured on Pitchfork, Stereogum, MuchMusic, Wired, Gorilla vs Bear, Nylon, XLR8R, among others. www. enchanted-fern.com Video: How I know by Toro y Moi Q. What inspired you on your idea for the video? The music reminded me a lot of '60s and '70s European film scores by people like Morricone and old Italian horror films, plus it had a spooky quality that I thought would lend itself well to a haunted house story. Q. Do you have any favorite Italian horror films? I ac

David Wilson is a London-based artist and music video director. Coming from an illustration background, David first started getting recognition for his work with his masterful music video for Moray McLaren’s “We Got Time” in which he was able to achieve live in-camera animation combined with live action via the renaissance of an old animation devise called a Praxiniscope. Since then he’s developed his music video directorial skills in ever-shifting ways; creating eerie face-paint animations for We Have Band, a biblical epic of a music video for Dupstep pioneer Skream, and most recently an ultra-glamorous take on the Devonshire town of Torquay for Metronomy. In 2009 he picked up the much coveted title of “Best New Director” at the UK Music Video Awards. Along with directing, David also regularly VJs with his home-made visuals at clubs and music festivals. www.davidwilsoncreative.com Video: The Bay by Metronomy Q. What inspired you on your idea for th