Song: Trigger the Landslide
Overview: The video will be a stop-motion animation, it starts on a landscape and as the song starts, the camera travels through the earth (following roots) into a cavern where a race of pig/mole people are mining. Throughout the song we just see them doing their job but as they are hammering at one wall, it collapses to reveal an ancient, dormant creature that wakes up and starts slaughtering the miners.
Treatment: The video starts with a black screen but with the first note, we cut to a desolate landscape. A lone, dead tree is blowing in a breeze on the left hand side of the screen whilst the band logo fills the centre, flickering and glitching. As the logo disappears, the camera travels down through the earth, bursting thorough into a cavern as the intro ends. This is our first view of the creatures, busy at work in the cave, hammering at walls and shifting rubble. The camera holds on a long shot of the creatures activities to give the viewer a sense of them but as the music becomes more aggressive, we cut to several quick shots of their jobs, i.e. in time with the beat we see hammering, picking, shovelling, etc.
After this exposure to their world, the music video picks up more of a narrative; we see what the creatures are mining for. A crystal is protruding from the cave wall and one of the miners uses a chisel to extract it, the moment he brings his hammer down is once again timed with the beat and we cut to another creature using a sledgehammer to break down the cave wall. This shot builds as the camera tracks back, revealing an entire row of creatures breaking down the wall and expanding the cavern. This shot is countered with a shot of the ceiling of the cavern, the roots that are protruding through are trembling with the vibrations and cracks are forming, foreshadowing. We then cut to the rubble being cleared and transported to an examination table where it is sorted and the crystals are inspected.
At the end of the second chorus, we cut to one of the creatures inspecting a wall and indicating it as a good place to dig, and instructor points several creatures in that direction and, after grabbing their pickaxes, they approach the indicated wall. As they begin to hack the wall it becomes clear that it’s very thin and they easily knock through. As seen from a shot from inside the small hole that was just made, the creatures gather around and peer in. We then cut to POV of the miners and we see that behind the wall hides a terrifying creature, all teeth and intimidation.
With this, we enter the final act of the video: chaos ensues. As the creatures stare into the void of the monster’s open mouth, tentacles erupt forth and burst through the wall. The miners flee but are slaughtered as they run, cut down or pulled back into the monsters hiding place. The creature never leaves it’s domain but its long tentacles reach out. The camera pulls back and one of the creatures chases it (as if trying to run out of the screen) before he is grasped by the ankle, the camera halts and is knocked into a dutch tilt as the creature hits the ground but stays there and watches the creature get dragged back. The instructor from before has his throat slit and crashes to the floor where we cut to a POV of his last breath as he watches more of the miners defend themselves from the attacking tentacles, the shot fades to black as the creature’s eyes close for the last time. We cut to the group that was just seen in the POV shot, swinging hammers and spades at the threat but to no avail, the focus is on one particular creature, in a medium shot, who gets wrapped in tentacles and ripped in half to the horror of the rest of the group. The final shot is of one of the miners, backed into a wall as tentacles snake towards him. Rubble is cascading from the ceiling of the cave and the camera pans up to see the cavern caving in. The video ends with a particularly large chunk of rock breaking free and falling into the camera as it cuts to black.
Aesthetics: The video will be very atmospheric, with a warm but muted colour palette and deep shadows. Long takes will immerse the viewer in the world of the miners and will be used for the majority of shots but they will be inter-cut with faster edits during aggressive sections of the song. Despite the long takes, an array of interesting camera angles and movements will prevent the visuals from becoming boring. Aesthetically, I believe the end result could be comparable to the music video for ‘Sober’ by Tool or the works of Guillermo del Toro or Jim Henson; somewhat grotesque but fully realised and immersive.