Me and Uzi been rockin’ before when he was just in Philly rapping for fun.
He really didn't give me any direction for this or any ideas for this one.
It was pretty much just me zoning out.
Thinking about how he lives, and his lifestyle I started thinking about time travel and just
put the some on repeat and everything just started coming to me.
I wanted this to be real but surreal at the
same time.
‘Alice in Wonderland’ type shit right here.
Being hypnotized by that sound.
I just wanted to bring the viewer into Uzi's realm.
Started the video off with a door.
This was the door that was leading to that realm.
It's actually on the side of the house.
That's a real door frame.
We got my homie Drew to build that shit.
He literally built it like 10 minutes before we shot the shit.
I had to like throw these rocks together and make it stand up.
Another reference for me was ‘Donnie Darko.’
I just wanted it to feel little liquid-y.
That was the reference I gave to my homies at SCISSOR.
I ran with this theme.
If you see throughout the whole video real drippy, 3D moving elements sliding through
the scenes.
And this piece of art, that was actually inspired by Dan Lam.
She does these molds, like these drippy molds.
I wanted to get tangible pieces to actually use, and her artwork is really expensive.
I called her.
I hit her up and she was like, "Look, it sounds like what you're doing is going to be really"
dope and I really want to be a part of it,” "and she sent me six!
We get back to the crib and the box she sent is in the middle of the street wide open and
all the shit’s gone.
Me having to call her and tell her that shit happened, dude?
It was like the hardest thing I ever did.
The next day I just went out and still made it happen.
And I lived in the post-production world with my animator and shit and we got it really
similar to her shit.
Here we got the clocks.
They’re everywhere.
This one was in a tree in the beginning.
Like I said, it’s like time travel.
Time is really irrelevant.
I knew I grabbed money from everybody and I wanted it to be on the table.
I know I wanted him to sip tea.
It might have been Metro’s idea to put that money in that tea cup like that.
I think it might've been ‘tro's idea for that shit.
That's my man.
Those rabbits?
They were crazy, man.
They don't listen.
They don't do shit that you asked them to do, so you just have to shoot them motherfuckers.
I think I wasted a whole card on them niggas, man.
We got Brittany in the video.
That’s Uzi’s girl right here.
I had her in the bathroom.
Sometimes she's not there.
so I tried to put her in a place when she's not there.
Maybe she's like thinking about Uzi, and that's what this was.
It was like a moment of her reflecting in herself in the bathroom.
I had Brittany write “333” and also “BB.”
Brittany Byrd, that's her initials.
333, they use them a lot.
Uzi uses them a lot.
He likes those numbers.
So this photo right here, my boy Dewey Saunders.
His art is all like different shit that he put together in a collage.
It's like fashion-inspired because that's what Uzi is inspired by.
These is images from a fashion show.
It also has some of Dan Lam’s work in it.
It’s real, but surreal, and that’s what I was going for with this.
It was the end of the video, but I still wanted to show the video in this one picture, and
I feel like that’s what that shit did.
Listen, Uzi is like the craziest nigga to work with.
I’ma keep it a buck with you.
This shit was organic.
For real, for real.
You know how niggas be saying that shit?
Just to say how it be like when you’re shooting with Uzi?
You gotta get your shit.
My mom, she do hair for mad music videos.
She came home one day and she had this tape with her.
It was some chicks with their titties out, I was like, “Oh shit! It’s lit!”
And that’s really what inspired me.
I was like, “I wanna do this shit.”