1. MUSIC VIDEO: Mannequin Jordan McGuire
Inspiration:
My main inspiration would have to be Britney Spears’s own music videos. They are a spectacle - often controversial
or so incredible they tend to make the news bulletins. She often works with some of my favourite directors
including Joseph Kahn, Jake Nava, and Francis Lawrence.
Joseph Kahn has been in the business making music videos for decades. His work generally
has a very cinematic feel, almost as if it’s a full motion picture that’s been squeezed into three
minutes. His ability to tell a complex story with such attention to detail in a small amount of
time is enviable. He generally works on very high budget music videos or TV spots as his videos
use very heavy special effects. I also love the varied cinematography, for example the
differences between the visual composition and cinematography in ‘I Hate This Part’ - a
beautifully simplistic and artistic video - compared with ‘When I Grow Up’ – a commercial,
high budget typical girl band ‘spectacle’ of a clip - are so great you’d think they were by
different directors. I admire this versatility.

2. MUSIC VIDEO - MANNEQUIN / JORDAN MCGUIRE / PRODUCTION PLAN
Jake Nava is another high profile music video director who has a similar visual style for the majority of his videos.
They’re very dark and mysterious, and utilize the most breathtaking locations and sets to capture an atmosphere
of high class and glamour. His use of lighting and colour schemes is really inspiring and I’d love to emulate this in
my own music video. Light flares and beams are consistently used to achieve a ‘glow’ that seems to give the scene
an incredible enigmatic atmosphere right at the climax of the song. He also captures the mood of the songs he’s
chosen to write treatments for perfectly. My favourite video he’s directed is coincidentally another Britney video,
‘My Prerogative’ - a clip which has, in my opinion, one of the most visually incredible concepts ever involving
Britney crashing a car into a pool and while absolutely drenched, seducing the camera while dancing on the hood.
While it practically makes no sense, that’s the beauty of pop music videos - anything can happen, as long as it looks
good and the artist looks on top of their game.
(insert photos)
Francis Lawrence has this unique ability to create a whole world within a music video. Each clip has its own
cohesive theme and atmosphere, and you feel as if you’re there. They have that ‘epic’ feeling that gives you chills.
His most popular videos - Lady GaGa’s ‘Bad Romance’, Britney’s ‘I’m A Slave 4 U’ and ‘Circus’, coupled with one of
my favourites - Janet Jackson’s ‘All Nite (Don’t Stop)’, all follow this winning formula. He also directed ‘Constantine’
and ‘I Am Legend’, two extremely successful and critically acclaimed movies that not only have brilliant storylines
but are visually and aesthetically impressive.
(insert photos)
I’m also heavily inspired by media other than music videos. Everything from photography to colour schemes,
clothes, makeup, lighting, and even choregraphy. I’ve spent the last few months bookmarking everything I come
across that gives me a sudden wave of inspiration.
(insert inspiration with explanations)
Intention:
As far as movie making goes, I have a long way to go before I’m going to have this kind of creative freedom, as I’ve
got years of study ahead of me. This is a chance for me to briefly fulfil my dream of being a music video director. I
work closely with people important in the pop music industry and so I’m very informed about the genre and what
the fans like, want and respond positively to. The song I’ve chosen is one of my favourites and was considered as a
first single choice but was ultimately not a single at all, and therefore didn’t get a professional music video
treatment. My aim is to do the song justice and emulate the pop music video feel that Britney seems to have
perfected, leaving everyone ending up copying her. I don’t necessarily want to make a clone as it’ll have my own
twist to it but I want to make it as extravagant and detailed as possible. I’d like to make it into a mini-movie similar
to Telephone and Paparazzi, two Lady GaGa videos, as I feel it gives you more of a chance to develop a storyline
and engage the viewer, leaving them totally engrossed in your music video’s world.
Concept:

3. This will be a music video set to the song ‘Mannequin’ by Britney Spears, except I’m using a remix as it includes an
added intro and breakdown that’ll give me more time to develop a storyline with, as well as add more emotion and
dramatic tension in certain parts. The whole video doesn’t have to be serious; I’d like some parts to be somewhat
comedic as this makes it more memorable. The concept of the video is that a girl discovers her boyfriend is
cheating and so she initially has a manic episode in the bathroom out of anger and frustration, but then goes to
bed, and wakes up fine…pretending that everything is okay, as she doesn’t care for him anymore. She also decides
to take advantage of his wealth while she can, and then gets revenge at the end once he’s aware she knows. The
song repeats the line “I don’t care, you can cry again, my face like a mannequin” during the chorus, “my face like a
mannequin” meaning that her face is blank and shows no emotion, as she has now lost all feelings towards him -
she is still angry but she can take advantage of him and get revenge simultaneously. As she pretends that she
doesn’t care and has convinced herself this is the case, her subconscious – filled with anger and passion – is
represented by her dancing. These solo scenes as well as the dancing are like the little voice in the back of her
head, expressing her real emotions figuratively. Another feature of the video is that she pauses the setting around
her whenever she wants by clicking her fingers so they’re frozen in motion - like a mannequin. He is unaware of
her knowing about his infidelity but ends up getting caught, and so the last part of the video will feature a
suspenseful chase to catch him and give him what he deserves.
Script:
INTRO:
Begins with cityscape shots, title appears. Cut to Claire and Matt in car together driving home, Mannequin playing on
the radio at low volume. Camera zooms through the window. Matt’s phone rings, he slightly panics, hides it and
rejects the call. A closeup of the phone reveals it’s another girl calling.
CLAIRE: Who was that?
MATT: Just work, don’t worry I’ll call back.
CLAIRE: Mmkay...
They pull up to their apartment. Matt rushes inside while she watches him with an air of suspicion. Day turns to night
as a sped-up time-lapse shot of outside is shown. Cut to inside the apartment. On the couch huddled up together, the
couple is watching TV. Matt gets a call and again, hides his phone.
MATT: Sorry, I have to take this. Work again.
Matt leaves the room briefly. Camera focuses on Claire looking behind her watching him on the phone. He’s smiling
and laughing, then hangs up and comes back.
CLAIRE: That sounded a bit cheerful to be work calling...
MATT: Yeah it was a mate.
CLAIRE: Why did you say it was work before?
MATT: I got confused, okay? God, why are you being so suss?
CLAIRE: Why are YOU being so suss? Every time I turn my back you’re on the phone!
MATT: Whatever. I can’t be bothered with fighting. I’ll go sleep at Nick’s...seeya.
He slams the door. Claire looks visibly angry and frustrated, but turns around and her eyes light up - he’s left his
phone on the table. It beeps as soon as she looks at it. It’s a text from another girl - “When are you going to come over
hun? ;)”. She closes it, and the homepage wallpaper is a photo of him kissing the other girl. She looks upset. Zooming
into her face...continuous flashbacks of happy times with her boyfriend appear. She wipes away the tears and her
sadness turns to a look of anger and determination. Matt suddenly opens the door and she’s staring at the wall
angrily, then wakes up from her little daydream.

4. MUSIC VIDEO - MANNEQUIN / JORDAN MCGUIRE / PRODUCTION PLAN
MATT: Forgot my phone. (points to phone sitting on table - camera focus changes)
CLAIRE: Here you go. (hands phone to Matt) Sorry about before. (smiles)
MATT: Yeah well I’m going to let you cool down. I’ve got a lot of..work to do.
He leaves again. Claire is immediately filled with anger. Faster paced shots of flashbacks are shown as she enters the
bathroom
Shots of Claire tossing and turning in bed trying to sleep are shown. Every flashback in her dream of Matt and her
causes her to twitch and jump. Closeup of her eyes as she wakes up. She sits on the edge of the bed and checks her
phone and there’s a message from Matt: “Hey, sorry for losing it last night, wanna come meet me at Nicks? xoxo”.
Claire rolls her eyes and stands up, starting to get ready. Continuous erratic jumpcuts are used as she changes
clothes, makes her way to the bathroom, does her hair and makeup etc., and walks out to the car.
LYRICS SHOT- BY- SHOT DESCRIPTION
My face like a mannequin Close up of face
Cut-in close up of hand changing gears
Home late, it’s ok
I run this, he wants me
Alternate between mid shot side view of Claire
I get things, everything I wanted, my own way
driving, mid shot view from front through windscreen,
Your time, goldmines
Loose guys, on my backless dresses, excess and close up of face
Over-shoulder shot of car breaking
Close up of shoe as she steps out of the car
Tilt upwards and continue as a dolly tracking shot
backwards, following Claire as she confidently walks
towards Matt
I cannot help myself Full body shot of dancing alternating with constant
I’m just doing what I do erratic cut-ins of other angles, focusing on different
Help myself to anything that I want so thank you body parts etc. (re: Telephone – Lady GaGa – jail
I like it
dance sequence)
And I do what I like
Dolly towards Matt
And then you’ll do what I like
And you’ll like it Tracking full body shot from side as Claire approaches
Matt
Closeup of faces as their lips almost meet but stop
centimetres apart

5. LYRICS SHOT- BY- SHOT DESCRIPTION
If you wanna just scream Closeup of Claire singing
Scream your lungs out Full body shots of singing and dancing against brick
Boy just cry wall with spotlight – also shots with backup dancers
Cry your eyes out
That’s what I’m about
You can cry your eyes outta your head
Baby baby
I don’t care
I don’t care
I don’t care
I don’t care
You can cry cry cry again
My face like a mannequin
Mannequin
Yeah I did it again and
End chorus with arcing shot of Claire & back up
You can cry cry cry again
My face like a mannequin dancers frozen in pose like mannequins
You told me you’re lonely Dolly tracking shot to the right coming from behind a
Can’t hear you wall revealing Claire scanning the apartment
Can’t feel you (Alternate frame speeds from normal to slow motion)
I’m frozen in pose
And there’s no way to move me
Watch me
Dress me
Can’t impress me
I’m not changing
I’m just
I cannot help myself
I’m just doing what I do
Help myself to anything that I want so thank you
I like it
And I do what I like
And then you’ll do what I like
And you’ll like it

6. MUSIC VIDEO - MANNEQUIN / JORDAN MCGUIRE / PRODUCTION PLAN
LYRICS SHOT- BY- SHOT DESCRIPTION
If you wanna just scream
Scream your lungs out
Boy just cry
Cry your eyes out
That’s what I’m about
You can cry your eyes outta your head
Baby baby
I don’t care
I don’t care
I don’t care
I don’t care
You can cry cry cry again
My face like a mannequin
Mannequin
Yeah I did it again and
You can cry cry cry again
My face like a mannequin
My face like a mannequin (x4)
Watch me (x2)
If you wanna just scream
Scream your lungs out
Boy just cry
Cry your eyes out
That’s what I’m about
You can cry your eyes outta your head
Baby baby
I don’t care
I don’t care
I don’t care
I don’t care
You can cry cry cry again
My face like a mannequin
Mannequin
Yeah I did it again and
You can cry cry cry again
My face like a mannequin
My face like a mannequin (repeat til fade out)

7. Filming:
Cameras
Seeing as I’m going for as much of a ‘high end’ look as possible without going too over the top and over my head
(delving into film cameras etc. which I know nothing about) I’m looking into hiring cameras. Michael’s in
Melbourne City hires out cameras and the highest quality one they have is the Canon XH-A1 but I want a cleaner,
more versatile look - so I’ve been looking into Digital SLRs that shoot HD video. The Canon 7D has had rave reviews
and looking at examples of music videos that have been shot with it on vimeo.com and I came across the following
one which has brilliant visuals and is exactly the look I want.
Benshire.com.au has Canon 7Ds for hire as well as the lenses I would like – the above video was shot with a
24-70mm lens at f2.8. I may also hire a 50mm lens so I have a wider range of types of shots and focal lengths to
choose from.
Lighting & Colour Correction
I’ll mostly be using natural lighting and then colour correcting or adjusting brightness in Adobe After Effects to
capture the right look and mood I want. The tiniest adjustment can make an incredible difference on the overall
look and feel of the clip. For example, the above first three images have a sepia tone added but it’s not too strong
as the colours of her clothes are still vibrant. I would like to experiment with using different colours to create
alternate atmospheres that reflect the character’s current emotions or actions at that time.
Artificial lighting will be used in the alleyways as they will most likely be TOO underlit to shoot in, as well as for the
‘spotlight’ effect I’m interested in using against a brick wall for some of the solo singing and dancing shots. The
school has a set of flourescent lights I’m interested in using to light up the face of my singer.