In a candid interview, actress and singer Nastasya Samburskaya opened up about the challenges surrounding two of her early video projects. She explained that while she did shoot two clips, watching them now brings tears. The former producer behind one of these efforts even tried to present it as a full-fledged music video, but the attempt fell short. The footage had been originally created as a backing element for a performance on a special anniversary, and Samburskaya recalled that the accompanying track was allegedly the song “Bad Boys.”
From Samburskaya’s perspective, the reception of that clip was tepid across major broadcasting networks. She contended that not a single respectable television channel was willing to air the video, a stance she attributed to a philosophy of choosing projects with stronger artistic and audience potential. She also noted that the clip has relatively few views online, suggesting that it didn’t resonate with a broad audience or meet the broader visibility standards expected of new work by emerging artists.
She also recalled traveling to America with the intention of filming another video. Yet the artist claimed that the new project didn’t present any remarkable differences when compared to what could have been produced in Russia, casting doubt on whether the overseas shoot would offer a meaningful upgrade. The comparison underscored a practical view: some ambitions abroad may be appealing in theory, but the end result did not appear to surpass what could be achieved closer to home.
“All the grand views one might encounter there can also be found in more humble settings back home — in a clay pit near my hometown or on a quiet valley slope,” Samburskaya commented, reflecting a preference for authenticity over spectacle. She also emphasized that she did not feel she played a visible, central role in her own video, which contributed to her sense of dissatisfaction with the final product. The overall impression she conveyed was one of disappointment with the presentation and public reception, rather than a celebration of the work’s potential.
Earlier in her career, other figures in the industry offered their own responses to critiques about vocal performances. In this ongoing dialogue within the public sphere, Samburskaya’s remarks add another layer to the broader conversation about how artists are perceived and how their work is valued by networks and audiences alike.