Sign In. Video 4m. Short Music Sci-Fi. Billy Bell Britney Spears. See more at IMDbPro. Photos Add Image. Top cast Edit. Billy Bell Dancer as Dancer. More like this. Storyline Edit. After this, black-and-white interspersed scenes of Spears getting ready in a soundstage are shown, while the words "Britney Spears" and "Hold It Against Me" appear in Def Leppard-inspired multicolored letters.
Spears is then seen wearing shorts and showing her midriff in the soundstage, while her dancers in white are getting dressed around her. They are surrounded by cameras and lights, symbolizing her constantly being under the microscope and hounded by the media. Pop often gets a bad rap for being superficial, but I think there are plenty of intricate themes being explored in this clip. A legend crash-lands on Earth.
She is the pop product, and this is the production. To a certain extent, the many product placements featured toward the beginning of the video serve to bolster this idea, bombarding the viewer with this constant notion of consumption. We find Britney quickly rising in the Matrix -live television room, lifted on high in that gorgeous white dress surrounded by her greatest achievements. She is the supreme pop princess, gorgeous and angelic. But as the video progresses, she begins to crack.
Back to the white dress, and the dancers suddenly come flying out from under her dress, blind and scurrying. The wheels come unhinged, and—after a particularly ghoulish Joker-esque smile —she truly loses it. As she unravels publicly, we start to witness the internal duel—a fight between two Britney Spears. This duel might just be the perfect representation of her struggle to overcome her own darkness. And then comes the fall.
It was really, really big. It looked spectacular in real life, I wish you could have seen it in real life. It was just spectacular, the size of that thing. It was a monster. All the focus [was] on getting the choreography right, getting all the technical aspects. That cylinder room was filled with screens, and getting the picture on those screens—that was a big challenge. Of course, she was always around.
We talked about working together for a long time before we actually did it. She had all this backstory with the lyrics from the song, so there was the whole idea of reflecting back on her life and her creativity. And she had just come out of all those difficult years that she had, so there was a lot to build on.
But we did it in kind of an artistic way, and she expressed herself with the [dance sequences]. Of course. That was my first American job. But it was a combination of the timing in the world. Music videos [were] important, and there [were] a lot of jobs around, and a lot of people got the opportunity to work around that time. But coming out of Sweden, and all my Roxette work, and all the Prodigy work that I did… I did a video with Moby and then Madonna and Prodigy basically at the same time.
To have three videos coming out at the same time… it was momentum that was impossible to create or plan out. The timing with everything was perfect. Tapes are not good in the long run, you know. They fade out. This is like a smorgasbord for the fans. The ultimate behind-the-scenes [footage] from a decade of success with one of the biggest bands from that time. So, I cut together this very long version of it, basically lining [the tapes] up. Per really liked it, and Marie, too. I think so.
But I also know that right after that time, videos were kind of fading away a little bit. And then I know she did her Vegas thing, and I started to do more movies. Oh, no. I think that was more… the basic idea of the video is like, everything is over the top. Everything is a little bit too much.
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