Video
The video for the song was directed by Richard Heslop, who had earlier directed the band's video for "Beautiful Life". The video included computer-generated graphics and mirror effects designed to make the video feel like a funhouse, much like the video for ABBA's "SOS". In the U.S., the video was never released: American record company Arista Records was dissatisfied with all of the videos from The Bridge, and decided to release no video at all to accompany the single release.
In March 1996, several months after the video had been filmed, the single was at last released. In Europe, the single was accompanied by a short promotion tour by the band, and two alternate videos. In the U.S., the only promotion consisted of tiny misspelled stickers on the CD packaging, although the record company did send out promotional copies of the Sweetbox Radio Mix to radio stations. With the band members away in Europe, and with no other form of promotion, the single failed to enter the official U.S. charts, peaking at #106. It was the first Ace of Base single to fail to chart inside of the Top 40 in the United States.
It was the last released video with major participation from Malin.
In Europe, "Never Gonna Say I'm Sorry" would be followed by fourth single "My Déjà Vu".
Read more about this topic: Never Gonna Say I'm Sorry
Famous quotes containing the word video:
“These people figured video was the Lord’s preferred means of communicating, the screen itself a kind of perpetually burning bush. “He’s in the de-tails,” Sublett had said once. “You gotta watch for Him close.””
—William Gibson (b. 1948)
“We attempt to remember our collective American childhood, the way it was, but what we often remember is a combination of real past, pieces reshaped by bitterness and love, and, of course, the video past—the portrayals of family life on such television programs as “Leave it to Beaver” and “Father Knows Best” and all the rest.”
—Richard Louv (20th century)
“It is among the ranks of school-age children, those six- to twelve-year-olds who once avidly filled their free moments with childhood play, that the greatest change is evident. In the place of traditional, sometimes ancient childhood games that were still popular a generation ago, in the place of fantasy and make- believe play . . . today’s children have substituted television viewing and, most recently, video games.”
—Marie Winn (20th century)