Into the Woods

This video would be shot as a hazy, natural, woodsy immersion into the feeling of the music. It will begin at night, figures barely visible in the glow of dim or weak light sources. Wide open f-stops. Slowly emerging into a dusty, hazy, warm light of dawn. It will be clean and realist but still subtly, dryly psychedelic. It will be an evocation of the sublime, bathing feeling you get from really deep, immersive rock n roll.

It would open at night with a sequence of a girl in her 20's- pretty in a natural, effortless, salt-of-the-earth kind of way- driving a 1988 AMC Eagle wagon from the city into the woods. The girl arrives to an urban residential street and pulls up front of a building, heads inside to an apartment. And when she comes back down out of the building, we notice that she is straining to carry a young guy in her arms. But upon getting a better look at this guy, we notice that there is something off about him. He seems unnaturally stiff, synthetic, almost as if he's plastic. She puts him carefully into the car and they drive off.

As they drive through the night on a woodsy highway, we get a better chance to look at this synthetic guy. The hard skin of his arms. Down to his hands, their surface sheen picking up the dim light of the dash panel. His arms elevated from his lap in an unnatural bend.

After driving a bit, we notice that his fingers start to move. His head moves a bit. He blinks, but we notice that his eyes are colorless, matching his skin. He stretches his mouth and jaw. His surface showing hints of becoming fleshy. But still, something is not quite right.

They pull off at a trail head, the girl helps him out of the car, and they walk off towards the tree line. His movements are awkward, stiff. But the girl walks patiently with him. They disappear off into the trees.

They walk through the beautiful forest light with some difficulty. The terrain a bit rough. His joints won't fully bend. In the darkness of the forest canopy, their silhouettes are faint and ghost-like.

As they push forward, the boy stumbles and falls to the muddy forest floor. The girl helps him up, and they continue on.

As they walk, they startle a badger off in the bushes. But we start to see the boy, slowly but surely, walking and moving ever more naturally. His hair falls loosely now. He starts to swimg his arms more freely.

And in a series of close-ups of his features, we start to see that his skin is changing, becoming more fleshy. And we notice his steps falling ever more into phase with the rhythm of the music.

As they push through a thicket of branches, he scratches his arm, and he looks down to notice a drop of blood. And they continue on. His body moving ever more freely and naturally. More alive.

The two emerge from the treeline, and we see the night giving way to the warm light of a hazy, natural dawn. They begin undressing down to their underwear. They both have beautifully imperfect bodies. And they arrive at the edge of a rock cliff.

Here we take the time to examine the boy more closely. His chest collapses and swells with breath. We look at his eyes, and we notice that their natural color has returned. His skin at last seems fully flesh and blood. But still, he does not look flush and rosy-cheeked. He is still a bit ashen and tired, almost like a hospital patient on his first day awakened from a coma.

They each take a deep breath. We notice a deep pool of water down below. And then they jump.

The jump will be shot in super-slow motion. With a deep, immersive temporality. The sequence will have a heavy, opiate feel. Every eye blink belabored. Until, eventually, they plunge through the water.

They fall through the water still in slow motion. Their eyes are closed. They reach the bottom of the natural pool. And we ramp up from slow motion to real time.

They hold themselves there.

And after a few moments, they both open their eyes.

THE END.