Pre-Production - Lyrics with Shot Breakdown

BEGINNING SHOTS – Opening title of “You Can Leave Your Hat On" by Joe Cocker fades to black.

Aerial shots of three characters sitting on sofa – slowly change to different angles of the same shot. Mid-shot of all three characters as central character leaves the room. Cuts to close-up of stripper stripping. Fades to black as the music begins. Mid-shot of stripper re-entering the room, cuts to mid-shot of guitarist and singer, which then quickly cuts to aerial then over-the-shoulder shot of the stripper/characters on the sofa.

Extreme close-up of stripper quickly changes to extreme close up of singer. This quickly cuts to a close-up and panning shot of guitarist playing guitar, before cutting to mid-shot of guitarist and singer.

LYRICS BEGIN:
Baby take off your coat (Extreme close up of singer – switches to mid-shot Stripper starting to undress)
Real slow (Extreme close up of singer singing)
Take off your shoes (Mid shot of singer and guitarist)
I'll take off your shoes (Close up of Guitarist playing guitar)
Baby take off your dress (Extreme close up of singer singing)
Yes, yes, yes (Mid shot of stripper continuing to strip)

You can leave your hat on (Mid shot of stripper cuts to mid shot of Singer’s shadow on wall)
You can leave your hat on (Close up of time-lapse of bath cuts to close up of Stripper)
You can leave your hat on (Close up of bath switches to extreme close-up of Singer)

Go over there, turn on the light (Close up of guitarist playing guitar smaller close up shots appear at the side of the guitarist)
Hey, all the lights (Over the shoulder shot of guitarist – other smaller close-ups of guitar appear around the guitarist)
Come over here, stand on that chair (Mid shot of stripper removing shirt switches to continuation of guitarist multi-shot)
Yeah, that's right (Mid-shot of singer and guitarist – Switches to mid-shot of stripper)
Raise your arms up in the air (Extreme close-up of microphone swinging in the air, and the singer then holding the mic still)
Now shake 'em (Quick-cut mid shots of Stripper and Singer/Guitarist)
You give me reason to live (Close-up of singer’s shadow)
You give me reason to live (Close-up of bath)
You give me reason to live (Mid-shot of singer/guitarist)
You give me reason to live (Extreme close-up of singer singing)

Sweet darling, (you can leave your hat on) (Close up of singer’s shadow quickly cuts to mid-shot of Stripper and guitarist then to mid-shot of singer/guitarist)
You can leave your hat on (Close-up of singer’s shadow quickly cuts to extreme-close of singer singing)
Baby, (you can leave your hat on) (Close up of bath cuts to mid-shot of stripper and guitarist dancing)
You can leave your hat on (Extreme close-up of singer singing quickly cuts to mid-shot of guitarist and stripper dancing)
(You can leave your hat on) (Extreme-close up and zoom in of Guitarists face)

There’s no way. (Extreme close-up of guitarist zooms out to mid-shot of guitarist and stripper)
(You can leave your hat on) (Mid shot of guitarist, stripper and singer dancing changes to close-up of singer, stripper and guitarist dancing)
You can leave your hat on (Close-up of singer, stripper and guitarist dancing)
(You can leave your hat on) (Extreme-close up of singer singing)
Give me the reason to live (Close-up of stripper switches to Close-up of singer, stripper and guitarist dancing)
(You can leave your hat on) (Mid-shot of Singer, Stripper and Guitarist quickly switches to extreme-close up of singer’s shadow)
You can leave your hat on (Singer’s shadow switches to close-up of stripper and guitarist dancing)

FINAL SHOTS – (Mid-shot of guitarist, singer and stripper switches to close-up of stripper)

CREDITS – Consist of a collaboration of quick cut close-ups of each actor, which culminates in a final mid-shot of all three before the camera fades to black.

SUMMARY
For our music video we have used a variety of different shots, mainly close-ups and mid-shots. The close-ups of the stripper we have used help to objectify the character, which contrasts the ideas of Laura Mulvey’s “Male Gaze” theory, as the audience are shown the stripper through a feminine viewpoint. We have also used a lot of mid-shots, as they are the only way in which we could fit in multiple characters at one time. A lot of the editing we have used is very quick cut, and in time to the music, which will make it more effective.

In accordance with Andrew Goodwin’s theory, we have used some of what he identifies as key aspects of music videos in ours. We have used several close-up shots of the vocalist throughout the video, and have also established links between the content of the lyrics with the actions of “the Stripper” character. We have also used genre-related styles, for example the use of humorous expressions on characters’ faces, which reflects the parody genre of our video. We have also contrasted one of the key aspects of Goodwin’s theory however, as we have used no female characters, and have instead used the idea of voyeurism on “the Stripper” character.

The fact we continually switch between the Stripper and the two performers means our video follows the theory of Steven Archer. Archer theorised that a music video should have a clear link between narrative and performance that promotes both the song, and the artist. The main narrative of our video is of the stripper gradually undressing, which is coupled with the performance of the singer/guitarist.