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Music Video Concepts

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La Creme:
Khar = Win.



Mr. Bungle - Ars Moriendi


Scene 1: (0:00 - 0:31) Setting: On top of a sand dune in the middle of a desert, covered with tombstones (big gothy type). Shots jump around between musicians, correlated with what is being played. As the song begins to slow, a slow, swaying zoom caries you into the f-hole of the violin, inside of which there is a cave. You see a far-off stage growing larger.

Scene 2: (0:31 - 1:05) The band, as skeletons, are in a big-band setup, in gold tuxedos, on a sort of game-showy stage. They are playing very skeletal instruments.

Scene 3: (1:05 - 1:46) The really electronicy part cues a bunch of roughly-glued stills (some inverted, color shifted, or otherwise fucked with) leading to an image of a tear dripping down a skull. A zoom goes into the drop to show the band on a small boat dressed as pirates, Mike Patton at the front, playng an accordian mega-fast. As it gets heavy again, a giant sea snake rears out of the water and eats the ship and band.

Scene 4: (1:46 - 2:22) Through two light-heavies, the band falls  down the snake's throut, eventually landing in a saloon, dressed as cowboys (2:03). Cue rapid succession shots of the band taking shots, and eventually vomiting. At the end of the scene (piano segment), vines grow out of the vomit, forming a sort of spire.

Scene 5: (2:22 - 3:06) A zoom takes us inside the spire, showing the band in turbans smoking from a large hooka with clarinets as hose-heads, with the strange off-time parts inverting the images and speeding them up. As the scene comes to an end, we see a hand flicking on a lighter, and burning the spire, the miniscule band falling out.

Scene 6: (3:06 - End) You realize that the band is, in fact, falling back up the sea serpent's throat. At the first "My bones are laughing as you're dancing on my grave!", Mike says it on the boat. At first the decending guitar/chromatic decending scale, we see the tear-drop slide neatly back into the eye of the skeleton. The long-held note + craziness + scratching is all just flashes around the cave, skeleton shadows, silhouettes, creepy things. As the second "Softly, softly" comes, you see "softly, softly", carved into the side of the inside of the f-hole of the violin. The camera then jumps out of the violin to Mike, who again says "My bones are laughing as you're dancing on my grave!" As the clickity-descending guitar/second chromatic scale come in and the final chords are hit, the shot zooms out from the desert, showing that the whole thing was happening on a peice of eye gunk, which is picked, and flicked away as the song comes to a close.

Rizzo:
I still think Spearhead's 'Rock The System' had one of the best videos of all time.
It opened with a kid buying a bottle of drink, it was like an advertisment for this drink. So it keeps cutting between the band and this kid doing his ad with the drink, having a good time etc.
Finally in the last seconds of the video you see the kid pick up a rag, stuff it into the neck of the bottle and light it. All in the same style as the ad. Such a powerful video.

My idea;
'Prozac, God and The Atomic Bomb' by The Mercy Cage
Start with a house in the 50s, very stereotypical. The camera comes in from above and zooms in through the window. A house wife is sitting at a table in the kitchen. Just before the vocals kick in she sits up and begins talking in time with the music. She gets up and walks outside. She starts walking down the road through her neighbourhood.
Every house she passes slowly begins to progress. Everything she passes becomes more advanced technologically. Her clothing also changes to reflect the fashions of the time. Going from the 50s right through til today at about 2.40. Once technology reaches modern levels it accelerates even faster and gradually becomes more unstable until eventually the camera zooms out and a rain of warheads falls from orbit. There's a huge nuclear blast and everything is levelled.
As the final beats of the song fade and the outro begins you see the woman again but she's dressed in very tattered primitive clothing and instead of pupils she has atomic logos.
Cliched as.

ObsoleteDonkey:
I've had this idea for this conceptual album that would have a bunch of videos accompanying it about a guy who has a one night stand and when he wakes up, he has to be put in her closet. It would have really original and metaphorical lyrics and each song would sound completely different. I also thought it would be a good idea to have some form of a midget with a large penis in the video eventually as well.

lastclearchance:
Dammit, and just when I was thinking we should start taking bets about who'd name a real video first...

And yes, Johnny C, I love the original 3 Director's Label DVDs.

Johnny C:

--- Quote from: rive gauche ---BEST!
IDEA!
EVER!
--- End quote ---

Well, I try! I've already come up with the video for hopefully the first single my band would release.

Pop Theory - These Estates (the link will be up shortly; I'm on the wrong computer for it right now)

Before the music opens, the first shot is the band, their backs to the camera, walking through the hallway of a courthouse. The drummer is the judge, the guitarist and bassist are the prosecutor and defense attorney, the keyboardist/sound manipulator/etc. is the stenographer, and I'm a witness.

The judge calls the court to order. The prosecutor shoves the defense attorney with his shoulder, and it builds into a shoving match which the judge has to hammer about. The prosecutor calls me up to the stand. Cut to me swearing on the Bible for a very bored-looking bailiff. I prepare to sit down, and it shows the prosecutor getting ready for questioning, only to be hit in the head with a paper airplane. The defense attorney is leaning back and whistling. As the music begins, both of them get into a shouting match which is dutifully typed up by the stenographer. The judge strikes them down with three gavel hits and I begin to sing.

As the verse continues, the judge looks increasingly bored and the prosecutor gets increasingly frustrated as he can't get a word in edgewise. As everything builds, the bailiff hand out guitars to myself and the prosecutor, the defense attorney pulls out his bass from under the table, and the stenographer picks up a guitar. The chorus begins and all members of the band (save the drummer, who's co-ordinating his gavel hits with the snare) play their instruments enthusiastically.

The chorus ends and the stenographer puts his guitar away; both attorneys give their instruments to the bailiff, but I keep mine. The verse continues, with the defense attorney asking the questions this time. He gets frustrated as well. The single guitar bit begins and I play along with it, and the bailiff hands out instruments again. The same thing happens this chorus, except at the end the bailiff doesn't take the instruments away. The bridge begins and the stenographer's typewriter is replaced with a laptop with which he puts in the fun-party-drum-machine beats that aren't in the song I'll be putting up. As well, the bailiff hands the judge two drumsticks and opens up his judicial podium, behind which there was a drum kit all along (also, the judicial crest was the front of the kick drum).

The chorus begins and all of the band is basically just performing now. During the coda, we see the courtroom audience dancing and having fun to the music. When the handclaps begin, we see that they're being produced by the jury, who seem to be having a good time. The song ends and the band just looks around and smiles. Fade to black.

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