If the DJ is the backbone of Hip Hop, video directors are the legs. Not only does the right video give a single something to stand on, it can also move an artist’S career into a better direction. Coming from a record label background, director Flyy Kaii has changed the direction of quite a few careers. Whether providing the images for both Akon and T-Pain’s debut videos, helping T.I. make defining statements, or letting the world know what a “Lookin’ Boy” IS, Flyy Kai is quickly emerging as the go-to director for music videos. Just like most rappers, Flyy, born Kai Crawford, got his directing start on the underground, doing work for independent artists. It’s something the Brooklyn native and Clark Atlanta University alum still does to this day, even though he gets plenty of calls from major labels. Fresh off the set of Yung LA’s video for the remix to his single “Ain’t I” featuring Young Dro and T.I., Flyy Kai took a couple minutes out of his day to talk about what goes on behind the lens. Tell us a little about your background. I was born and raised in Brooklyn, NY. I went to Boys and Girls High School and got a scholarship from Spike Lee. I got into filmmaking when I played hooky in 8th grade to see Mo Betta Blues. I was blown away by Spike’s dolly shots, so I made it my business to do my research on him. It was a couple movies he did in my hood growing up, and I just watched. I got the scholarship after finding about his involvement with the United Negro College Fund. He had the 40 Acre & A Mule scholarship for people who wanted to take up film at a Black college. I got accepted and it paid off a lot of my tuition. Just like any other video director, I was inspired by Hype Williams and Paul Hunter. It was just about finding the right tools and breaking in. For me, my experience was different than the average director. Most directors start as a protege to a bigger director, working as a PA. I was working in the music industry as a A&R assistant for Lil Jon at So So Def. Then I interned in the music video department at LaFace and I was working at Patchwerk Studios. Working at those places kept me around the artists and kept me in the know of who was doing what, who was next. What were some of your early works? My very first video was with Big Cee of Southpaw Records. He was spending his own money, no major label backing him. I had very little experience, just what I learned at Clark. Dude took a chance on me and gave me some decent money to work with. That one video was an incredible
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video. I used it as my showcase reel for a while. Through mutual friends the video got into Akon’s hands, who had just got his deal. He liked it and promised me once he got in motion he woud hire me for his first video. He kept his word and [I directed his video for] “Locked Up.” That alone led to me doing many other Konvict artist videos, like T-Pain’s “I’m Sprung.” Did “Locked Up” break you as a video director? It definitely helped me get recognition. People said it looked professional. It did get me more work, but sometimes it was sporatic, like every 6 months. Akon was one of the guys who always looked out for me. I always had first dibs on his projects and that put me into the realm of the big dogs. Even after you did “Locked Up,” you directed a video for an independent artist named Mr. Rogers who had a song with Killer Mike. I come from the indie world so I can’t shit on those artist who have little money. That’s where I came from, si if I was to ever turn anything like that down, that’s just like biting the hand that fed me. Mr. Rogers knew me way before Akon’s video; he knew me as an intern trying to make a name for myself. Prior to Akon, the indie world was feeding me. I’ve done [videos for] Kool G. Rap and a couple other guys too. I’m proud of the indie videos just as much as the major label ones. Do you get full creative control or do you just do what the artist tells you to do? Akon lets you get creative; he doesn’t interfere. A lot of artists let me do me. Sometimes the labels interfere, but most artists are excited about working with me. A lot of these guys have become my friends after shoots. When I did Yung Joc’s “I Know You See It” we became friends. It’s no different from going to your favorite doctor. Most of my jobs have come about because of my relationships with people in the music industry. Right now, the video you did for T.I.’s “What’s Up” is getting alot of attention, mainly because of who it was aimed at. As a director, are you wary about getting involved in artist “beefs”? Honestly, I’m an artist myself. I’m painting a pic-
ture. Most of the time when artists have something to say, they don’t know how to bring it out visually. That’s where I come into play. This was actually my first video when it was a retaliation, comeback record. It’s directed at a certain source but a lot of other people too, indirectly. I jumped on it because it was T.I. making a statement, [responding] to a rumor saying he ain’t in the hood and can’t go into a certain area. I wanted to help him paint that picture. It’s not really a diss record. If the other party came at me to do a video in retaliation to what I did, I would probably turn it down depending on the content and the point they’re trying to make. I try to chose them wisely. Most people watch videos or see them for the first time on YouTube or other websites now. Has that had an effect on what you do, and the quality of videos in general? It’s changed what the labels are putting out. They’ll tell a director, “This is a ‘viral video,’ so we’re only spending this much.” Some people were saying that YouTube ruined the game and brought budgets down, but really, 9/11 brought budgets down. People started downloading [music] more. [Video] budgets are decreasing because the labels have to make up for [lower] record sales. My industry has to change, so instead of using film we have to use red cams and give them video [quality] that’s satisfactory to the internet. That way, the labels can still put videos for records that might not become singles. If you’re a clever producer, you can make a $20,000 video look like it cost ten times as much. Is video directing a highly competitive field? For me, any field is competitive. It’s always someone that do something better than you. You’ve just go to do you, if you know it’s your calling. I always knew I’d make it. You hear a thousand no’s before you hear a yes. The day that you quit could be the day you make it. It’s all about having the love. You can’t just wait for the opportunity to come. I went out and made it happen. Through the grace of God, he put me with the right people. I try not to be on the hating side and just commend everybody. // Words and Photo by Maurice G. Garland