TREATMENT

The music video is shot as though we are an observer watching the events unfolding
in front of us. It tells the story of a character who takes a psychoactive drug and has a
trip while, through intercutting, two thugs drive to his house to brutally beat him.
During the main characters scenes, the camera will have smooth movements as
though gliding through the scene as we observe him and his world as he gleefully
smiles on his trip. To contrast, the camera movement will become jerky and handheld
as the two thugs journey towards him, showing their aggression and danger.
As the song begins, we start at the end of the narrative, with a single exterior shot
looking in on the main character who is on the floor unmoving. His house provides a
comforting light as his front door is wide open, leaving us as to what happened. Then
the guitar riff starts as we get establishing shots of a bedroom, where the main
character resides. A lot of close-ups are used as we see a pill in his hand, before it is
lifted out of frame. We focus on his eye as it closes and the camera quickly zooms out
to reveal a mirror. A whip pan as the guitar chorus begins, and a medium-close shot
reveals the character to us. His eyes open to the beat as in a rather creepy way as he
starts to smile. A POV shot as the room begins to distort, then cut back to him as he
begins to jerkily mime the lyrics. We get a birds eye view of him as his eyes roll back.
He sits up and we get an exterior shot of the house as the camera pans up from his
silhouette, and rolls across the starry sky.
A fade into a starless sky as the second verse comes on and the camera settles on
two menacing looking men, one is in a phone booth, talking. He puts the phone down
and the two men, walk away from camera to get into a car. Previously filmed in just
medium shots, as they get further away from the camera it is revealed one has a
baseball bat and the other is wearing tough looking gloves. The get in the car and we
get various interior shots as the car travels from urban to rural landscapes, their faces
illuminated by the interior of the car.
Back to the chorus and we see the main character continuing to sing, the background
and world hes in distorting, as he walks into the hallway and sits in the bathroom in
the dark. His face is suddenly eerily illuminated by a strong light source underneath
him as he looks around into the mirror. Overlaying effects as he closes his eyes and
takes in the atmosphere, intercutting with the car pulling up in his drive and the two
thugs walking out menacingly. They knock on the door and the lyrics say in the
silence, in the silence, as the instrumental begins. We see the man struggling to walk
down the stairs, the floaty camera contrasting with the menacing angles of the two
thugs, their weapons shown in single close ups.
The guitar notes tumble down as the last chorus comes, and the man opens the door
and a close up of his eyes reveals his surprise. The two thugs lunge forward with their
fists and weapons and knock him to the ground in slow motion. We only see flailing
limbs of the man as the violence continues off-screen. The mean raise their fists and
bat in unison and get close up shots of the mans bruised face as he begins to mime
the lyrics again, his face contorting in pain as he does. Various other shots are used
such as his feet flailing and his twisting torso, as well as the wild eyes of the thugs to
imply the violent act.

The thugs drop the weapon by him as the man lays in pain on the ground. They exit
the house and get in the car, unmasking themselves as the man opens his eyes wide
in shock, and the song ends when they slam the car door shut.

REFERENCES

LIGHTIN
G
CHOICE

LIGHTING
CHOICE AND
ATMOSPHERE

LIGHTING
CHOICE AND
ATMOSPHERE

REFERENCES

ATMOSPEHERE AND

LYRICS

Run run, ditto moon Oh, you sit amongst

yourselves
Pullin' back, shape up to. The
know?
Soon, you lie under ecstasy
High street, pushing But
steam
I have source it means,
Rolling eye, is forcedEvery
to dream
wishYou
you go in, every
go
wish you go in,
All I want to know is how
start
I will to
see
you sitting here
over again
Every wish you sold it out,
You want it?
every wish you sold it out
All I need to know is how
tosilence
gain
In the
control
In the silence
But the shameless soul
Oh, your sitting amongst
Oh, your sitting amongst
yourselves
yourselves
Soon, you lie under
Soon, you lie under ecstasy
ecstasies
Your eye has stolen me
In our mysteries
Oh, you sit amongst Oh,
yourselves
you sit amongst
yourselves
Soon, you lie under ecstasy
Soon, you lie under
Your eye is swichin' with it
ecstasies
Run run, ditto moon
In our mysteries
Pullin' back, shape up to You know?
I await,
High street, pushing steam
no rise
Rolling eye, is forced to dream You
Everywhere you goin', stop
go
the city.
All I want to know is how to start
Oh, no
over again
I'll know
VERSES
You want it?
Let's sail go go
All I need to know is how CHORUS
is how
you start to control You, BRIDGE
I don't need ascension
But the shameless soul END
Oh, your sitting beside of me
Soon, you lie under ecstasy
Your eye has switched away
REFERENCES

In terms of editing, I will cut to the beat to emphasize the song. In terms of setting up
tension, I will have quite long and slow cuts for the menacing thugs to show them as more
threatening, and the camera will become more handheld, which will add a sense of realism
to them. This will in turn make them more dangerous, and the lighting will add to that. It
EDITING
TECHNIQUE
AND or the car interior, meaning
will be very dimly lit, the only real
source coming
from phones
COSTUME
REFERENCES
it will create
expressionistic shadows
on their faces and will cast a disturbing green or red
IDEAS,
glow to them.
INCLUDING
The scene
with
the main character will also be edited slowly initially, with the exception of
MASK
IDEAS
at the beginning. Moderately fast edits at the start will quickly set up the location but also
confuse the audience due to the main character being shot in close ups initially. We are
getting action codes as we slowly build an idea of what his character is without having to
The masks reveal
will beit worn
to giveWhen
the thugs
sense
completely.
he does
takeof
the drug, the editing cuts quicker and to the beat,
anonymity, and
which
makes
them
more
threatening
as
we see him in medium close up and close ups now, revealing him to the audience.
we dont know who they are. The phone call they
The beginning
lighting used
onenigma
him willcode,
go from
quite soft, his bedroom with a nice glow, to harsh,
receive at the
is an
as we
when
he
is
in
the
bathroom
it
will
be
a
harsh
dont know who they are calling or why they beat the single source light, creating large exaggerated
shadows
and contrasts
to show
hisattrip is going bad. When the doorbell is rung, the
main character
up. When
they reveal
their how
faces
editing
will
intercut
slowly
as
we
see
the
thugs stand at the door and wait for him.
the end, they are relatively normal looking teenagers,
which brings
in the
stereotype
that him,
young
When
the general
thugs actually
do attack
it is moments of slow motion and normal speed, to
youths are very
susceptible
to
crime
and
drug
taking,
show both the suddenness and the severity of the violence and to also show that the main
especially men.
character is still in his drug induced state and the pain is thus emphasized. I will use shots
that do not show the violence directly, but hint at it, that way it will be more effective as it
is left up to the imagination what damage is being done to the man.
The video will have an effect put onCOSTUME
it to make
it appear
though its on an analogue
IDEAS,
MASKas
IDEAS
television screen. This will give a faded, almost dated and combined with the shaky cam,