Thanks to Red Hot Lady at velvetrevolverforum.com for the heads-up.
The videos director, Dean Karr ("Sweet Dreams" by Marilyn Manson, "No One Knows" by QOTSA, "I Just Want You" by Ozzy Osbourne), has posted the
following blog on his MySpace page:
MAN I AM SO BEHIND IN MY BLOGS, MAINLY BECAUSE I CAN'T SIGN INTO MY FLICKR ACCOUNT SINCE BEFORE CHRISTMAS, THEY AREN'T TOO HELPFUL ABOUT IT EITHER. WELL TO BRING YOU UP TO SPEED, I AM DIRECTING VELVET REVOLVER'S NEW MUSIC VIDEO NEXT TUESDAY/WEDNESDAY FOR THEIR FIRST SINGLE "SHE BUILDS QUICK MACHINES", GREAT BAND AND WILL BE A GREAT VIDEO. VERY MINIMAL PERFORMANCE AND A TON OF ACTION, PYRO AND GREAT CHARACTERS! THIS IS MY SECOND MUSIC VIDEO FOR THE BAND. MY TREATMENT HAS CHANGED SEVERAL TIMES, BUT HERE'S THE GIST OF WHAT'S GOING ON.
Velvet Revolver
"SHE BUILDS QUICK MACHINES"
Treatment by Dean Karr
? 4/17/07 Dean Karr/ Wild Indigo, LLC
Velvet Revolver's second release is going to hit the streets hard and their first music video has got to punch you right in the face, leaving an impression to last! I would like to suggest that we embark upon a production similar to a small indie film; driven by the danger, speed and high octane of this compelling track. Ours will be a fresh approach, as we pay homage to western road movies past - while clearly evoking the future. We will contrast our urgent narrative with fresh visuals to provide the heroic platform in which to feature OUR HEROES - Scott, Duff, Slash, Matt and Dave. I personally know the capabilities of this team of great musicians, and am confident that together we can create an amazing piece of film.
We open on a burning desert. The sun flares our lens. In the sky we notice something traveling towards the earth. We can't quite make it out, but it's comin' down fast as it falls towards earth with a high-speed ripple effect. A jet stream trails behind.
Close on Scott's face as we see him tracking the object with powerful
spyglasses. We intercut to close ups of Duff, Slash, Matt and Dave as they too take notice with a sense of urgency. The wind blows their hair. They are Freedom Fighters on a rescue mission and ? this is what they have been waiting for. We pull back to reveal that they are racing through a barren plain on the outskirts of a dusty border town, in their favorite muscle cars. Let's assume we're somewhere on the Texas/Mexican border.
In the near distance we now see vague shimmering images. As they come closer to our cameras, revealed is a rough looking bunch of dedicated BADDIES. They are in dark and contemporary dress, with a look somewhere between road pirates, masked terrorists, and villains out of an old Sergio Leone film. They are scarred and unclean. And? they are after the same thing as Our Heroes, but with bad intent.
We cut to the object plummeting gracefully to the dry earth; its impact creates a huge dust cloud. Once the dust settles, we see two wings sticking up out of the hole in the sand. The wings ever so slightly move, letting us know that whatever it is, it's still breathing.
The adrenaline starts boiling as the two parties race towards the falling object's point of impact. It's like we are in a chase from an old western, only this time they are mounted on cars rather than horses. Our Heroes are surprised to see the Baddies enter the scene ? and, to make matters worse, they are much closer to the fallen object.
The Baddies have beaten our boys to the scene and aggressively approach the moving wings. They reach down and pull from the dust a battered but drop-dead gorgeous fallen angel. The angel's name is "Libertad" and the bad guys are out to capture her, and symbolically, all of our liberties. (A team of the best character actors available will play the Baddies. We will cast a bombshell for the part of Libertad.) They cuff her with wrist shackles, bringing to mind an image not unlike the coin on band's artwork. As they hoist her into one of their vehicles, they see the dust cloud of our approaching Heroes. They high tail it back to the ghost town that provides their hideaway.
Placing "Libertad" in a dirty, humid cell, she is victim to all sorts of unusual abuse from her filthy captors. The point of the scene is to depict their ruthlessness, feel her pain, and heighten the sense of urgency for Our Heroes rescue mission. I have some strong options in mind for this sequence.
Meanwhile, Our Heroes have spotted the hideout and will rely on clever tactics, explosives and stealth to get in and free "Libertad". We see their long shadows as they carefully approach, as a scorpion scurries out of the way.
Each of Our Heroes will have their own minimal cameo; and each might have his own stunt double. They will execute a rescue that might be seen as a cross between the great western films and a team rescue show such as "The Unit." (Always using cars instead of horses). I am very open towards discussing the individual scenario that each member of the band would be comfortable with. For example, Matt (or his double) might swing down on a rip line, crashing into the lights and knocking the exterior into darkness, minus a few burning oil barrels. While all of his action is taking place Dave and Duff might link chains to the bars from their muscle cars and rip the wall out of "Libertad's" cell from outside.
Striking singles footage will capture Scott delivering the lyric for us to intercut throughout as needed. A performance platform, within our key location, will be provided to allow us to cut to the full band as needed. (We will avoid seeing the band singing or performing while they are part of the narrative). Wardrobe will be open to discussion, though I want to be sure that they look strong and individualista at all time and never dressed in a clich?d manner.
Scott's dramatic narrative performance will establish him as a leader of our freedom fighter's rescue mission. We see him laying out a plan of action, directing his team, and finally reawakening the spirit of Libertad.
During the slowed down bridge of the song, Slash enters through the saloon style doors in super slow motion. He wears matching, black Les Paul's. With his distinctive high-hat he creates a memorable image. The Baddies at first laugh, then slowly get up to stop him. Suddenly Slash (or his stunt double) will symmetrically begin spinning the guitars in a manner similar to a "Bruce Lee" nunchuk scene meets "V for Vendetta's" classic knife fight. One of the bandit's draws a knife, but is pinned against the wall as Slash flings one of the guitars through his midsection. The second bandit will fire shots at Slash, who deflects them all with his second guitar. He then lets that one rip through the air, putting the second guard out of commission, just in time to grab a third guitar off his back and hit his stinging solo, now in real time. This scene will require a little wicked postproduction, ultimately giving us one of his most memorable music video moments conceived to date!
Towards the end of the piece, Scott will enter the cell and approach the captive angel. She falls weakly into his arms during the mellow moment in the bridge. He brings her back into consciousness.
During the solo's finale, we will create a visual treat as we quick inter-cut moments of our stunts with pyro explosions and individual acts of valor. Finally, the sky lights up as the damaged angel is gently placed into Scott's car. Our Heroes have rescued the fallen angel "Libertad," and will renew her ability to inspire a sense of freedom in us all.
The style will be that of a contemporary western. Careful casting, attention to details, and input from those immersed in the genre, will assure cinematic standards of the highest level. Velvet Revolver's cars will be loaded with all types of ultra cool modern communication equipment as they keep in constant touch with each other. State of the art stunt driving and our great aggressive camera technique will captivate the viewer's attention.
We have met with industry veteran stunt coordinator, the amazing Dr. Stunts ?T.J. White. Together we have begun discussing shots, within reach of our resources, for the liberation of "Libertad" (see attached notes.)
In addition, we have invited the legendary film director, Monte Hellman, to consult on shot selection. Monte has directed a wealth of classic films such as "Two Lane Blacktop", and the westerns "Ride The Whirlwind" and "The Shooting" (both with a young Jack Nicholson). He was a Producer on "Reservoir Dogs" and recent reviews have credited him as the major influence on Quinton Tarrantino and his latest film.
Having had a look at the album artwork, I would like to tie in the "Libertad" reference as a key part of our story. This will no doubt help for marketing and visual purposes. I would also suggest cutting two versions of our film - one for the airwaves and one "harder" version for the web and DVD purposes. Either way, we will bring to the project creative experience, resources, and heightened insights so as to create a video that will fully support the power of this most important band. Let's go to work!
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