ANNA OF THE NORTH - BABY

TREATMENT BY PETER PINT


First of all, thanks for inviting me to share my thoughts on this project. I really believe we can craft something unique and beautiful with this song!

“ Baby” is a really emotional and contemplative song. To me there is a delicate sense of hope and loss in it which i love. It reminds me a quote from Nietzsche that says “ Hope is the worst of evils for it prolongs the torments of man “.

The main thread here will be Anna´s performance. Anna sings with such emotion and honesty that she will trigger an immediate connection with the audience. She will intentionally look at us while singing with an unsettling posture and inquisitive expression on her face. There´s something beautiful and powerful about eye contact that i love and that i know it will work perfectly in this song!

Just a quick note before moving on: although some pictures on this treatment are shot on a real location, our film will be done in a studio set - so they are mainly a reference for the mood, the situations as well as the body language or facial expression. Not a reference for locations.



I want our viewers to feel that same sense of desolation and helplessness that the song has. We’ll do this by showing Anna singing in awkward and uncomfortable positions that in some way reflect what she´s felling. Apart from singing there will be other actions and moves she will do and that will work as cutaways for the performance. strange gestures with her body ,and hands, touching her hair amongst other really cool details.These will work really nice with the performance as you will see later in the mood video i did.


Also i think it´s important that we introduce a few moments where we see her lover. This juxtaposition of scenes between she and him will help us to show what she´s missing and why she´s struggling . We’ll experience the pain and conflict she feels from being apart. My suggestion would be to shoot these scenes against a different background or in a real location like an hotel room.


Here´s a small mood video to better illustrate my vision for this video: (password: lisbon )



// BRADY CAMEO

Below are some ideas to have Brady into the video but not as a love interest

1 - I like the idea of having Brady on the set with her:
He can be just holding the mirrors for her or he can be part of the film crew - imagine him as the sound recordist / boom operator! We show Anna singing and then we open the frame or simply move the camera to reveal Brady holding the boom - absurd / unexpected and slightly fun.

2. Or he can be next to her playing the keyboard / other instruments or simply there doing nothing ( always keeping a very clean / conceptual look ) . They don´t need to interact at all - for me it looks even better if he´s just there on his own and looking a bit out of the context. Camera would slowly pull back until we reveal him.


3. Other ideas: Brady sneaking from behind a curtain / Brady appearing in the reflection of a mirror.



Visually i want to take this concept further and try to create strange / disturbing yet minimal visual compositions using mirrors and reflections. We can use chroma on the mirrors to fake the reflection and make it look even more surreal. Here´s a couple of examples


The film will take us on a introspective journey made of contemplative portraits and emotional landscapes while looking aesthetically pleasing yet minimal and empty as if something is missing . There will be moments where Anna sings and other moments where she just looks lost.

The overall look will be clean and stylised following the artwork cover direction. We will film in a studio against a pink background ( and possibly other colours like grey or a pale blue / yellow ). Obviously i want to have some props for her to interact like a chair ,a table, a microphone but mostly the space will be empty.


It will be shot cinematically, with a variety of angles and beautiful lighting. The framing will try to be as unconventional as possible to match the unexpected situation and positions we will find her singing. For camera movement i would like to use 2 different languages: a fixed camera with really slow and controlled dolly ins - camera approaching her ) and handheld camera for moments when we want to increase the tension of the film. These will be used sparingly though. I want to film at 50 fps to make everything feel slightly surreal and dreamy. As for the wardrobe, make-up and styling , i really like the look of the cover artwork so i want to keep that language - a natural , casual look with very little make up.


Another idea i would like to bring to the table would be to edit this video in a different fashion. I would like to instead of cutting from one scene to the other to constant overlap all the different scenes / layers on top of each other. I think this image will help to illustrate what i mean:


So what the viewer sees is a sequence of different layers with different sizes going on top of each other along with the pace and rhythm of the song. I think this image will help to illustrate what i mean. I feel this concept matches the idea of a relationship where you accumulate a lot of things during time but they never go away.

Eventually this could be a potential way we could go as the song develops. As we see here, we could eventually use stock footage or textures / images as background to create really cool and original compositions while still keeping a clean and minimal feel. Here´s a couple of ideas / possibilities using this approach:



This is a delicately written song with various layers accompanying it. To do it justice, it’s video must be the same. Subtle, poetic, dark and memorable. I hope we can make it together !


THANK YOU!

Peter Pint