Wow. I just had three flashes of inspiration for the new music video. I've been dry for weeks then WHACK WHACK WHACK. And y'know what inspired it? Thinking about the clip's metanarrative. For me - the way I'm connecting to it - is that the villian is like a film director. He's someone who doesn't DO anything himself, but has an army of people to do it for him (and it MUST be a him) yet he still thinks of himsefl as an artist. But if you know longer actually make the artifacts with your bare hands, can you really call yourself an artist? Or are you merely what Gore Vidal would describe as a hustler-plagarist?

Quickly, the ideas were:

1. A scene which I scrapped earlier for having no importance needs to be reinserted, otherwise we won't appreciate that Bossman does NOTHING himself... he's like a conductor... supervising... approving... but not DOING.

2. One of his assistant's is going to be filming him using an old camera (I'm worried about this only because it might place the film in a set period). This comes from an old story about Jerry Bruckenheimer and one of the guys shooting behind the scenes footage. He was basically told that whenever the big J was on set to film him NOT the action (even if it involved aerial stuntwork). I think its a very curious thing when the artist becomes more important than the art. I can always intercut the actual telecined handcranked 16mm footage if I want.

3. The Richman purchasing the living sculpture can be told in two shots. Want narrative compression? Dot on glass (CU). OTS from behind richman onto glass-cage. Then CU on Richman smiling. You can probably do without the OTS in the middle, but I feel spatial relationships are VERY important in telling stories. I also like ending scenes with CUs :)

Of course, for the plenty of you who've never read the treatment this will make little sense. Consider it a teaser also :)