VERSION 1
“Morphine”
Music Video
Mini Exhibition Treatment by Lauren Richards-Evans
Experimenting with the practice of showing the visual
development behind a music video/short film, expanding into all the details
acquired without seeing the finished product; – the premise, placing oneself
into the mind set of Tim Burton, if he ever had the chance to collaborate with
Michael Jackson, as this was an accomplishment neither party had a chance to
experience.
The song of which will be illustratively shown upon
this exhibition will be Morphine,
found on Jackson’s 1997 album Blood on
the Dancefloor: HIStory in the Mix known for hits Blood on the Dancefloor, Ghosts
and Is It Scary. For this purpose of
representing the depth of the song, the storyboards, moodboard, character,
costume designs, and the scenery will be treated as if the director, Tim Burton
is going through the scenario himself, as he would treat every project – using
Jackson as a real life manifestation of his sorrow, in addition to letting the
singer express his own anger.
Premise
Morphine
tells the story of the protagonist struggling with
drug addiction with Michael narrating the story, allowing the listener to
experience the inner turmoils, and disastrous outcomes.
http://www.youtube.com/watch?v=mXAjmIhPAMY
Michael Jackson will appear as the protagonist, and split into three sets of personalities, playing on Sigmund Freud’s theory of psyche apparatus; the mindset of the brain demonstrating triple levels of sub consciousness; the Id, the Ego, the Super-Ego. Each “character” will be physical demonstrations of each level, consequently elaborating on the exasperated efforts of his own conscious and unconscious struggles.
Michael Jackson will appear as the protagonist, and split into three sets of personalities, playing on Sigmund Freud’s theory of psyche apparatus; the mindset of the brain demonstrating triple levels of sub consciousness; the Id, the Ego, the Super-Ego. Each “character” will be physical demonstrations of each level, consequently elaborating on the exasperated efforts of his own conscious and unconscious struggles.
Visuals
This will be further verified when the characters
Jackson portrays will wear various costumes with a design which will define the
mood of the short film/music video, whilst adopting the plot of the psyche
apparatus. An aspect of the singer will represent the super-ego – an area of the subconscious with aims of unrealistic
aspirations – Jackson portraying a sophisticated physician. The secondary
aspect will characterize the ego – the
conscious repressing the ambitions, and setting a realistic goal. The chosen
costume will use inspiration of the astrictive, leather suit of Pfeiffer’s
Catwoman and Depp’s Edward Scissorhands, combining that of the clawed/scissor
hands, displaying restrictive movement. The third aspect will ultimately
approach the ideal of the id – the
primitive instincts, and uncontrollable desire of an individual. – the artistic
adaption of the costume will present Jackson in a docile, fetal state, unable
to experience individual thought, or a single movement (the most fatal reaction
of drug overdose, where the patient is close to brain-dead) – relying on the super-ego, like a father figure – as explained by Frued in his own descriptions.
How this will be visually
achieved, is matching the pictorial approach of Tim Burton, basing it upon
his earlier films Batman Returns
(1989), Edward Scissorhands (1990) –
where the use of morbid, mournful shades of black, and grey with the dinginess
of dark violet, blues and reds are regular, within the characteristics of the
people, or surroundings of that character. This practice, outside of film is
found in Burton’s various water colour pieces. The depth or lack will establish
the power or weakness of the scene and the actions of the character. Using the
study of the meaning of colour, that colour will validate the authority of Jackson’s
manifestation.
For example, the variants of white will be worn by the
super-ego and id – only the complexity of the shade will differ. The false protagonist (in literal terms antagonist/dueteragonist),
as a physician will be attired in a pristine (snow) white medical jacket, for
the egotistical illusion of admiration, placing status above everything else.
While a dingier shade (ex. eggshell white) will be adorned by the tritagonist,
to form the concept that the id is
considered the lesser aspect of the human psyche – thus the most hated aspect
of Michael (the drug abuser) himself.
The true
protagonist, the ego, alternatively
will be dressed in black, addressing the “reality” of the situation, and
instinctively standing out of the conflicting impressions of the subconscious.
Programmes & Technique
Watercolour; definition of
colour
Pencil; sketch work,
rough layoutBoth will be used for storyboards, moodboard, scenery layout, and character and costume design. Adobe
Photoshop; strengthening the colour
Once the storyboard, moodboard, designs for costume
and character, and scenery layout is set; all aspects of the process will be
taken into computer and adjusted so the definition of the imagery is heightened
to a more professional finish.
Storyboard and moodboard will be structured to be of
A1-A2 quality, once all three parts are combined into one image, while scenery,
character and costume are envisioned to be of A3 position once printed, to
enhance the semi-realistic detail, wanting the illustrations of Michael Jackson
to be of hyperrealism so it
replicates the astounding excellence found in only photography.
©
Lauren Richards-Evans
University of East London
BA Hons Graphic Design and Illustration
thechocolatier@hotmail.co.uk
_________________________________________________
©
Lauren Richards-Evans
University of East London
BA Hons Graphic Design and Illustration
thechocolatier@hotmail.co.uk
_________________________________________________
VERSION 2
Soon
