storyboard and planning

moodboard:

analysis of lyircs:

1st stanza:

You never were going to change your mind, were you, Emily? - the rhetorical question address's a specific person (emily)

You just sat back, took it all for you, there was nothing for me;- he implies that the female protagonist gave nothing to the relationship and took all the benefits for herself.

I didn't mean to prove that all I can do is lose - he feels sorry for himself and this perhaps implies that his relationship have'nt been highly successful.

Next time that you need me, don't call me up, Emily; - he's insisting that if the female protagonist wants or "needs" something from the artist that she should'nt contact him.

I'm tired of your lies and your cheating ways with me; - he's finished with her, and the way that she treats him.

And every time you go, please don't let me know - this implies that this relationship is repeatedly on and off and that he is tired of this scenario.

Emily, you still live inside of me; - regardless of what he's previously said and implied he still loves her.

And, Emily, you are the fire in my tree; - the use this metaphor implies that 'emily' is bad for the narrator.

So if you should fall, please don't call; - the artist does not want to hear from the female protagonist under any circumstances.

And next time you write, I won't stay up all night; - i assume he means that she has perhaps wrote him a letter that has emotionally effected him to the extent he cannot sleep.

'Cos Emily you, just look at you - you're a tragedy - this is an insult directed at the female protagonist (emily)

You never were going to change you mind, were you, Emily? - he repeats the question from the beginning of the song, as if he's making sure that 'emily' won't change her mind.

You just sat back, took it all for you, and nothing was there for me; - again, implying that she took all the benefits of the relationship and he gained nothing.

I didn't mean to prove that all I'm good for is to lose - repetition of before insinuating he feels sorry for himself and this perhaps implies that his relationship have'nt been highly successful.

Emily, you still live inside of me; - he implies that he is still in love with the female protagonist.

And, Emily, you are the fire in my tree; - like fire is bad for tree's the narrator feels that emily is bad for himself.

So next time you fall, please don't call; - he doesnt want contact with emily under any circumstances.

And next time you write, I won't stay up all night; - i assume he means that she has perhaps wrote him a letter that has emotionally effected him to the extent he cannot sleep.

'Cos Emily you, just look at you - you're a tragedy - a direct insult to 'emily' the female protagonist of the song.

You never were going to change you're mind were you, anyway - in this lines he proves defeatist and accepts that she is not coming back.

description of artist

stephen Fretwell was born in scunthorpe in 1981 and is a huge fan of band's such as blur, oasis, radiohead, suede and the blue tones.
his songs have featured in popular television programmes such as 'run', the theme tune for situation comedy 'gavin and stacey' as well as another 'darling don't appearing in skin's as well as musical appearance's on the american programme 'brothers and sisters'.
as well as being a solo artist he also played bass in artic monkey's alex turners side project 'last shadow puppets'.
fretwell was described by 'Q' as "scunthorpes finest export... ever".

why i chose this song.

When I was trying to find an artist and song to choose I had a real dilemma as I like lots of different genres of music. However, I was already a fan of Stephen Fretwell and was listening to his 'Magpie' album so I decided I would choose one of the songs he had released as a single 'Emily'. I immediately liked this song and when I actually looked at the lyrics I got a concept immediately and knew what I wanted to create. The song's narrative is of a failed love story between a man and a woman which I felt would be easy to portray. I also chose it as the video usually associated with this genre are stereotypically performance and narrative based and these two I feel I could realise the most effectively. I also chose Stephen Fretwell as he is an up and coming British artist whose music provided the soundtrack to Gavin and Stacey and was used in the third series of Skins and would this appeal to my target audience. However, as he is not a main stream artist many of his songs would not already have videos or be widely known, thus reducing possible comparison between my production and the original one.

'emily' stephen fretwell lyrics:

You never were going to change your mind, were you, Emily?
You just sat back, took it all for you, there was nothing for me;
I didn't mean to prove that all I can do is lose

Next time that you need me, don't call me up, Emily;
I'm tired of your lies and your cheating ways with me;
And every time you go, please don't let me know

Emily, you still live inside of me;
And, Emily, you are the fire in my tree;
So if you should fall, please don't call;
And next time you write, I won't stay up all night;
'Cos Emily you, just look at you - you're a tragedy

You never were going to change you mind, were you, Emily?
You just sat back, took it all for you, and nothing was there for me;
I didn't mean to prove that all I'm good for is to lose

Emily, you still live inside of me;
And, Emily, you are the fire in my tree;
So next time you fall, please don't call;
And next time you write, I won't stay up all night;
'Cos Emily you, just look at you - you're a tragedy

You never were going to change you're mind were you, anyway.

stephen fretwells original music video for emily:

Stephen Fretwell - Emily on muzu.tv

the pre-production and production of a music video:

to create a successful music video it needs to be thoroughly researched and thought through.

firstly, you should research the artist and their genre, this is crucial because the music video has to successfully convey the genre, this is done through the type of video for example, stereotypically the acoustic genre will have narrative/performance based video's.

after listening to the song you have chosen you should then move on to story boarding your concept for a music video and draw up your shots and idea's to create a draft of the video you wish to shoot.

ideally in the pre-production process you should meet with your artist and present them with your idea and concept and display to them your storyboard. you should also enquire if they have any trade marks for example a lot of rap and hip-hop artist like to wear their own jewelry and 'nelly' wore a plaster on his face, so that this doesn't interfer with costume idea's.

stepping to the production, you should consider lighting, location and mise-en-scene to create the right feel and convey the artist and genre correctly to the fans and audience.

when filming i feel using a high number of diverse shots and angles helps give your product a professional element and also makes editing easier and more successful because you have a lot more to work with and you are not tied down to re-use shot after shot presenting the audience with something new and keeping them entertained which is the sole purpose of a music video.

following filming the music video is then sent of too editing where it will begin too take form as a video rather then individual shots. in editing you create the music video's and are presented with the opportunity to add effects,CGI, digetic sound, photo shop images and play the music over the top.

after this it is sent off to be censored and certified. this is where people watch the video and make sure the language and images are suitable for mainstream television for example 'robbie williams' 'rock DJ' contains the image of him stripping naked and CGI of him taking of his skin. this was not suitable and was applied to the 9 'o' clock watershed.

from this the music video is sent off to music channels such as 'smash hits', 'kerrang' and 'mtv' again, the channel it is shown on depends soley on the genre of the song for example an acoustic song would not be played on 'kerrang' or 'mtv dance'.

video change

Having attempted to film my video for the Jamie T song I originally chose, I felt the concept was not strong enough and the performers that I had chosen were not reliable so I decided to revise my piece and chose to create a video for Stephen Fretwell's song 'Emily' instead.

goodwin's Theory:

Goodwin's Six Points:
1. Music videos demonstrate genre characteristics (e.g. stage performance in metal video, dance routine for boy/girl band).
2. There is a relationship between lyrics and visuals (either illustrative, amplifying, contradicting).
3. There is a relationship between music and visuals (either illustrative, amplifying, contradicting).
4. The demands of the record label will include the need for lots of close ups of the artist and the artist may develop motifs which recur across their work (a visual style).
5. There is frequently reference to notion of looking (screens within screens, telescopes, etc) and particularly voyeuristic treatment of the female body.
6. There is often intertextual reference (to films, tv programmes, other music videos etc).