NIGHT CREATURE
Music Video Treatment
An on-duty gardener of the local botanic gardens cuts loose and learns a dance while also closing up for the night.
This track and video should make you want to dance. It’s about a desire to break out of day-to-day life so you can be wild and lose control.
Night Creature
Wild as a wolf in Alaskan snow,
Wild as a woman should be.
Wild is this feeling -
Lust to lose control
Come on and lose it with me
Wise as a wolf, in the dark of night.
Light up our senses to be,
Wild, with no ceiling,
Baby lose control,
Come on now, I’ll take the lead
Wild, as a Wolf, an electric soul
Self-ruiling lover d-ream,
Wild be ferocious
Let us lose control,
You're all the loving I need.
I’m in the mood,
step it up 3 times
Wild woman you plant the seed,
Push it past the limit,
Loose it take control,
of all the loving you need.
Down in the valley of Venus
We’ll dance till our hips collide
Bound to the rhythm
Melt into the season
Down in the valley of Venus
Ooo night creatureI got to see ya -Ooo night creature yeahWhat Happens
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Intro
We start on a wrought iron gate loudly swinging shut. As it latches, the track starts and we reveal: the gardener (Lou’ana) she turns away from us. We are with her walking, she looks down at her phone, watching a dance, as she walks she makes small movements with her hands, emulating the moves.
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First Verse
She props her phone up on a park bench and starts practicing the dance moves. She repeats them over and over, making mistakes, laughing and shaking it off. She does the moves half time, marking it through. She’s starting to get it.
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First Chorus
She does the full routine the whole way through. She jumps up and down, stoked that she did the whole thing.
She picks up the phone and confidently marches on her way to continue closing the garden for the day. We follow as she struts along.
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Second Verse
A choreographed montage of ‘closing’ activities but she has a spring in her step, it’s like she’s making her job a dance. In time with the music she sprinkles pellets and snips flower heads off. Some of the actions she adds a flourish, replicating the dance she just learned. We see her practicing the moves again, but in a variety of different gardens and she makes her way around closing up.
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Second Chorus
She sees a flash of white out of the corner of her eye.
Intrigued, she goes to investigate.
She pulls back a curtain of vines. She steps through and is transported.
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Bridge
Fantasy sequence. Our gardener is the gliding through a lush green space, fog covering the ground. She’s the lead singer of this fantasy, belting out the track in a stunning outfit, full goddess with two cherub dancers flitting around her. This is interrupted by a hand landing abruptly on her shoulder, pulling her back to reality. She turns to see…
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Interlude
A bewildered Mum with a push chair, she’s stuck in the gardens! Our gardener pulls herself together, embarrassed and walks the Mum out of the gardens, holding the gate open for her.
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Stripped Back Chorus
Now later, dusk starting to creep in, we see close up details of our gardener connecting hoses, plugging in extension cords, laying coloured plastic over outdoor lamps, she pulls her hair out of it’s pony tail… she’s putting something together but we don’t know quite what until…
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Final Chorus
The gardener flips a massive switch just as the final chorus kicks in. The trees light up with fairy lights, and blue and magenta garden spotlights illuminate the gardens. She starts performing the dance, but 2000% energy. Wild and free. A sprinkler system kicks in, her own rain machine. She’s flicking her wet hair around and giving it everything she’s got. The fantasy is real.
COSTUME
Garden worker but make it sexy.
I’m imagining the colours evoking a park ranger’s uniform, but with snug high-waisted shorts and a tight tank, with a loose shirt over top. Some utility items on her hip. And some evidence that she works the garden - bandaids and dirt.
For our fantasy costumes, we should work with the most glamorous and beautiful costumes we can source. Gowns from Brooke Tyson’s existing collection could be amazing. Ideally, we’re working to either evoking representations of Venus, white, flowing, goddess. Or evoking the disco connotations of the song, or a hybrid of both.
Location
We will use what’s there and adapt location dependant. But mostly looking for spaces with colour, variation, layers and levels, scope, lines and symmetry.
While I have stipulated a botanic garden, this could work in any number of diverse ‘work spaces’. Lush greenery is definitely ideal though.
Slick & Polished
I want to make an $80,000 music video for $8k. And I believe we can. Everything about the execution of this video needs to be immaculate. There can not be a single element that is 80% of the way there. The performance needs to be tight and popping in every single take. The cinematography needs to be polished and feel expensive. The edit needs to feel seamless.
The way we achieve this is by putting our “spectacular” elements in front of the camera; the locations & the choreography. We need to capture them in a way that we can realistically execute to perfection.
We can not be stretched in any way in terms of time, gear or personnel. We need to simplify the creative and technical requirements to a level where we will can 200% nail the execution.
Choreography
This isn’t any old choreography. This is a 20 second choreography that works in any section of the song that modulates to be beginner level through to advanced with added complexity. Stylistically, this choreography should give nods to both disco and tiktok-style hip hop. Symbology in the moves should allude to artworks of Venus and the idea of breaking out of the box and cutting lose. We need hairography that makes the use of both a ponytail and a full wet hair flips and flicks.
Movements need to be unusual, elevated, surprising, intriguing (like Ryan Heffington’s choreography on Sia’s music videos.) The performance should be captivating to keep the audience engaged. But also inviting and accessible enough for the audience to want to join in the moves.
We need anything we can think of to give the choreography some special sauce, for example perhaps for some legwork or spins we put Lou’ana onto roller skates (but don’t show them) so she appears to move more seamlessly than would be realistic.
We need our choreographer to put Lou’ana through hardcore boot camp. And be watching her performance like a hawk, full stage-mom energy to make sure everything we get in the can is absolutely zinging.
Movement / Cinematography references for the walking sections
Solo dance journey references
Performance evolution from beginning (Tiktok) to end (Chandalier)