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If I were to die (Video concept)
“Art is what speaks more when it shows less.”
Video Outlook and Overview:
The
video will be shot like a theatrical production and in an artsy way, as
detailed in the scene by scene break down. In addition, to give the video a
classical feel, the entire story in the video will move in a slow motion,
slightly monotone, except for the miming parts where the artist will sing in
sync with time. The video is to be shot with army’s “Parachute” squad and will
involve stories of three soldiers, including one portrayed by the artist
himself.
Basic Plot:
The
artist will be acting as one of the two pilots of the helicopter/plane flying a
squadron on a mission. The video will reflect on personal lives of two of the
soldiers and the pilot, and as the story will unfold, with the situation
getting worse on the ground after the squadron has landed, the artist will
leave the controls of the helicopter/plane in the hands of his co-pilot, and
will himself sky-dive to join the forces on the ground. Eventually the character
played by the artist will be shown to have been injured in combat and recovering
in a hospital with his beloved by his side.
Scene by scene breakdown:
The
scene by scene breakdown below is explained in context with the various stages
of the musical composition.
Scene 1:
As
the music opens with the sound of birds chirping, the video will begin with
shots of the airfield, like the shot of the area beyond the runway/helipad, the
runway, the helicopter/plane on the runway. By this time the piano melody would
be about to kick in. At this stage the screen will fade out into black, and as
the piano melody will kick in, the black veil will lift as if a shutter is
being pulled up, as a group of shoulders in the battle gear would be shown
walking down the runway, with their goggles on, looking around as they walk.
The artist (as the pilot) will then be shown as stepping out of the
plane/helicopter (as the case may be), and he will share a salute with the
soldiers. The leader of the pack will step forward, shake the artist’s hand,
and then show him a map and point out the place where the drop will be done.
The artist will nod his head and take the map in his hand, and climb up into the
craft with the soldier. The scene will end with shots of the leader of the pack
making the soldiers settle down, as the pilot and the co-pilot will ready the
craft for take-off.
Scene 2:
As
the first stanza will kick in, the artist will be shown miming while seated
behind the controls of the craft. In between, in slow motion and as part of the
story, the artist will show his co-pilot the map and point the location to him.
The squadron leader will join them. As the three will nod their heads and flash
thumbs up, a bit of laughter from behind will catch their attention. The rest
of the squad will be shown laughing at one of their fellows sitting in a corner
when one of them will snatch the wallet he had been looking at from his hand.
The wallet will have the image of that soldier’s girl (that can be inserted
during editing of the video). The scene will continue with the leader rebuking
the men jokingly while the soldier will take the wallet back and try to put it
in his pocket, before opening it once again to have another look. These shots
mixed with the miming parts of the artist will lead to the first drop at the
end of the first stanza.
Scene 3:
As
the line “if I were to die” finishes and just as the piano and baseline kicks
in at the drop, the first shots of the girl will appear. She will be shown
running and turning around in a field (or perhaps an old Fort) in a flowing
light coloured skirt, her hair flying in the air, a handkerchief or a similar
piece of cloth in her hand flying in the air, a big smile on her face. The
scene will mix shots of the soldier looking at his wallet, or looking away in
the distance as he remembers her, and the scenes of the girl. Their love story
is based on a love story between a young recruit and a college/university
student, or a recent pass-out. Hence the scenes of the girl will include:
a) The
girl sitting on a table at a small open air restaurant giving a funny but cute
smile looking straight in the camera (as if in response to a tease by the
soldier who will be represented by the camera), a lemonade/coconut with a straw
lying in front of her.
b) The
girl sitting on a bench in a park, raising her notebooks with her hand as if
trying to hit the soldier (again represented by the camera), as if the soldier
had just played a prank on her.
c) The
girl walking away in a park teasingly, to turn around and wave a good bye at
the camera, as if teasing the soldier.
d) The
girl making funny faces as if teasing the soldier.
Just
before the second stanza kicks in, the artist will be shown miming the one line
before the humming starts to indicate the imminent second stanza.
Scene 4:
The
scene starts with the artist miming the first line of the second stanza, and
will then shift to the soldiers behind him who will be shown asking their
leader about his family. The squadron leader will pull out his wallet and show
them the picture of his wife and a young child. The squadron leader will look
at the picture and then far away, and as the camera will close in on his eye(s),
the scene will shift to his house where his wife will open up the door for him,
in a beautiful light coloured flowing dress. As she will pretend to kneel, as
if a king is entering the house, and then step aside to let the camera in (once
again camera will represent the soldier), the camera will make way towards the
bedroom of the house. As the camera will enter the bedroom, we will see his
wife playing with his young child, say monopoly or a similar card game (if the
child is older in age), or playing with the infant on her knees. Alternatively,
if the child is old enough, she could be shown helping the child with the
homework. As she will realize the soldier has come in, she will look at him and
smile and then point out to their child, as if saying, “Look daddy’s home.” If
the child is old enough he will run towards the camera with his arms open to
hug the camera, and if the child is an infant then the camera will close in on
the child as if the soldier has rushed to his child. As the camera will
approach the child’s face (in either case) the camera will look up at the wife
again who will teasingly ask the camera to follow her. As the camera will walk
out of the room, it will make its’ way to the kitchen where the wife will be
standing next to their child who will be sitting on the dining table, feeding the
child with her own hands. On seeing her husband (the camera) she will call him
to come and sit at the table with cute hand gestures, and then she will be
shown picking up a dish and putting it in front of the camera, and then picking
up a bowl to pour some food onto it. What is in the bowl will never be shown in
the video (for it will be empty). At this point the artist will break the
soldier’s trance with a finger snip, bringing him back to the reality, and will
then gesture how it’s time to get moving. At this point the stanza should be
about to end and the piano melody and baseline about to kick in.
Scene 5:
As
the last line “If I were to die” will finish, just at the point when baseline
and piano melody kicks in, the soldiers will jump out of the plane/helicopter.
The scene will mix footage of soldiers jumping out, opening the parachutes
(taken from above from the craft), with the footage of two soldiers posing on
ground randomly (as if taken prior to the take-off), and the footage of the two
girls. While the girl of the first soldier can be shown running away from him
teasingly through a field (or a Fort), the wife from the second story can be
shown running around the house, dogging the soldier in a playful manner as
their child will look on from a side. The scene will end with a shot of the
soldiers landing (taken from the ground), and running away in a direction, when
the artist will be shown miming the line that finishes the segment, and the
humming starts to kick in the third stanza.
Scene 6:
The
artist will once again mime the first line of the third stanza. The scene will
then shift to the ground where the soldiers will be shown to be pinned down by
the enemy. One of them will be shown gesturing to another one as to how many
enemies can he sight. The other one will respond as if he has no idea, and then
gesture to the squad leader as if asking him what next. The squad leader will
pause for a moment and look down as if contemplating next action. He will then
turn to his radio guy and radio in to the craft. The scene will then shift to
the craft where the artist will take off his headset/helmet in anger/frustration
and get up from his seat in the cockpit. His co-pilot will look at him
surprised and gesture with his hand as if asking what he is up to. The artist
will respond with his hand pointing towards the ground, implying that he is
going down. The co-pilot will be be-wildered and shake his head in surprise as
he will turn around and watch the artist walk out of the cockpit. In a couple
of quick flashes the artist will be shown putting on the commando wax on his
face, and putting on a commando cap on his head and turning it around and
walking up to the door to take the jump. At this point the stanza should have
hit the last line “If I were to die”.
Scene 7:
As
the words “Baby girl” (that are heard in the background and signal the imminent
rap part of the song) play, the music will stop. The artist will jump out of
the plane as the sound of a heart-beat will be played in the background. At
this point the screen will fade out in to white. The heartbeat will then be
heard again as a frame of the artist lying on a white sheet of cloth (hospital
bed) will be shown before fading out into a white screen when a continuous beep
sound will be heard (the one used in movies when someone’s heart has stopped
beating). At this point the music will kick back in with the words “Hell yeah”
(heard in background and which bring the rap verse in), and the scene will
shift to the hospital where the artist will be shown lying unconscious. The
camera will move out of the hospital room and walk to a corner where the
artist’s girlfriend will be shown praying to God with her hands folded in a
prayer, eyes closed, and tears rolling down her eyes. The scene will shift back
to the room where the artist will be shown waking up from his unconsciousness.
His concerned girlfriend will then be shown standing by the door wiping her
tears as the artist will smile at her sight. He will wink at her teasingly with
a smile as she will rush to him and hug him as he will caress her with his one
hand around her back, and his other stroking her hair. He will raise his head
slightly to kiss her on her head. He will be shown saying something to the girl,
who will raise her head, wipe her tears, shake her head as if replying in
negative to something, and then hugging him again. The scene will then show the
artist miming a few lines of the rap in real time before it will show flashes
of his girl in various scenes like:
a) Smiling,
with flowers in her hand.
b) Tilting
her head to a side as she leans to a classic looking lamp post by a bench on
the side walk.
c) Turning
her head around as she rides away on a ladies bicycle, or alternately walks
away giving a flying kiss.
The
scene will lead to the final scene with the artist and his girl holding each
other’s hands and closing in to hug each other, putting their heads together,
then turning away from the camera and walking away. The scene will fade out
into white.
Scene 8:
The
final scene will fade in from white and will finish the song as the song will
reach its’ final few bars. The scene will show the group of soldiers, along
with the artist, marching in an exaggerated flamboyant manner, in a single
spread out file and towards the camera. The final shot will be taken from the
side when the scene and the song will close with the soldier turning their
heads to look to their right and giving a flamboyant salute. (The details of
the marching and salute style will be explained in detail at the time of
shooting.)
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