The music video was first shown at the record release party of I Brought You My Bullets, You Brought Me Your Love in 2002, and was available online. It was not widely released until September 23, 2005 on the 2005 re-release of I Brought You My Bullets, You Brought Me Your Love. Scenes featuring the band performing were directed by Marc Debiak for the production company Grey Sky Films. The interspersed scenes containing a storyline similar to the Takashi Miike film Audition were directed by John Armson. It is about a man looking for a spouse and after a series of interviews, he finds a woman. After their first date he tries to find where she lives and apparently cannot find her address. When he returns to his home, he pours himself a drink and after drinking he collapses on the floor. The woman comes out of a doorway. She then proceeds to torture the paralyzed man, putting needles in his chest and below his eye and chopping off his leg.
^"Album review: My Chemical Romance – 'May Death Never Stop You'". The Galleon. Archived from the original on May 4, 2015. Retrieved May 4, 2015. 'Honey This Mirror Isn't Big Enough For The Two Of Us' and 'Vampires Will Never Hurt You' (taken from their debut album I Brought You My Bullets, You Brought Me Your Love), are both ramshackle post-hardcore numbers
^"I Brought You My Bullets, You Brought Me Your Love". IGN. 4 August 2004. Retrieved May 4, 2015. The album commences with "Honey, This Mirror Isn't Big Enough for the Two Of Us," which for the most part is one of the more "conservative-emo" tracks on the record.
^"5 GREAT MY CHEMICAL ROMANCE SONGS FOR METALHEADS". 12 October 2022. Retrieved Jan 9, 2023. 'However, its opening salvo is a crashing fan-favorite that sees Gerard Way hurling the contents of his throat over serrated metalcore licks, all while a restless rhythm section threatens to subsume every catchy moment in pure chaos.
^"The 10 Most Underrated My Chemical Romance Songs". Retrieved Jan 9, 2023. 'The song kicks off with a metalcore guitar lead and features all the tenants of a great MCR song: searing vocal yelps from a charmingly underdeveloped Way, scorched-earth guitar riffs, an anthemic chorus, a brief moment of soft respite during the bridge and a subsequently explosive payoff.'
