NOTHING MORE
FT. Chris Daughtry
FREEFALL
BY STEPHEN WAYNE MALLETT
LOCATION:
TWO RIVERS MANSION
nashville
The concept explores the relentless brutality of war and the quiet humanity beneath it. Set against the cold, foggy backdrop of the Revolutionary War (1775–1783) at the historic Two Rivers Mansion, an American soldier and a British redcoat engage in a visceral, life-or-death struggle.
WE INTER-CUT POWERFUL PERFORMANCES OF THE BAND SHOT ON LOCATION.
FAST CAMERA MOVEMENTS MIXED WITH POETIC SHOTS OF AGGRESSION AND RELEASE.
The foggy, gray landscape of the Revolutionary War (1775–1783) unfolds around the historic Two Rivers Mansion. The air is damp and biting, with rain falling lightly and wind howling faintly through the towering trees. An American soldier in his 30s trudges through the mud, his musket slung over his shoulder. His blue uniform, soaked and tattered, clings to him as his determined yet weary gaze scans the battlefield. Nearby, a British redcoat, also in his 30s, crouches behind a tree, gripping his musket tightly. His crimson uniform is dirtied and drenched, his eyes locked on the figure of his approaching enemy.
The silence is shattered by the crack of gunfire. The redcoat fires first, the shot ringing through the dense fog. The American soldier dives for cover behind a crumbling stone wall, his heart pounding as he quickly reloads his musket. Smoke curls and mingles with the mist as the men exchange fire, each narrowly missing the other. The bursts of light from their weapons briefly illuminate their tense expressions. As the shots grow frantic and less precise, they begin closing the distance between them, their desperation palpable.
Amid the chaos, the American soldier reloads his musket, and his mind flickers to a memory of his wife and two daughters. In a warm parlor, lit by the soft glow of a hearth, his wife, also in her 30s, kneels beside their youngest daughter while the elder sits on his lap, her laughter filling the room. The firelight dances across their faces, enveloping them in an ethereal warmth. Simultaneously, the redcoat, lining up his next shot, recalls his son in a serene garden. The boy, with wide, innocent eyes, runs toward him, arms outstretched, while his wife, also in her 30s, stands nearby, a soft smile on her face. The dreamlike serenity of these moments contrasts sharply with the grim battlefield, underscoring the humanity they both risk losing.
Emerging from cover, both soldiers affix their bayonets, their movements deliberate yet filled with urgency. The American charges through the mud, rain streaking his face, his grip tightening on his weapon. The redcoat steadies himself, planting his boots firmly as his bayonet gleams faintly in the muted light. When they meet, the clash is deafening. Their bayonets lock with a metallic scrape, and the camera captures their straining faces, twisted with rage and desperation. The fight grows chaotic as they struggle for dominance, the mud splattering with every movement. The cold battlefield becomes a frenzied, brutal tableau of survival.
The battle becomes personal as their weapons are knocked aside. The American soldier grabs the redcoat by his collar, his anger erupting as he pulls his enemy forward stabbing him with a kinfe sending the red coat stumbling backward. Blood and rain streak their faces as they grapple in the mud, their exhausted bodies moving with sheer willpower. They tumble to the ground, clawing for control. Each man reaches desperately for his knife, their heavy breaths and the rain the only sounds cutting through the oppressive fog.
As the fight drags on, the men’s strength falters. Both collapse onto the wet, cold earth, their chests heaving, faces pale with exhaustion. The battlefield falls eerily silent. Then, in a moment of surreal calm, their muskets and bayonets begin to rise from the ground. The weapons float weightlessly into the air, as though lifted by an unseen force, leaving the soldiers lying in the mud, defenseless. Their gazes follow the weapons upward as the fog thickens, pulling them into an otherworldly state.
The battlefield dissolves into a golden, ethereal landscape. The harsh gray fog is replaced by a warm, radiant light that seems to emanate from everywhere. The American soldier sees his wife and two daughters running toward him, their faces glowing with love and joy. They embrace him, their laughter soft and dreamlike. Nearby, the redcoat finds himself face-to-face with his young son, who reaches for him with a look of pure innocence. His wife steps into view, her expression filled with quiet affection. The two men glance at one another across this surreal space, their families fading into the golden mist as they begin to understand the shared humanity that transcends their differences. The futility of their quarrel is undeniable.
The golden light fades abruptly, replaced by the cold, wet battlefield. The fog returns, harsh and unforgiving, as rain continues to fall heavily. The soldiers lie motionless for a moment, their breathing shallow. Slowly, they lift their heads, meeting each other’s gaze. The earlier fury is gone, replaced by a quiet, profound understanding. The American soldier extends his hand, his palm muddy but steady. The redcoat hesitates briefly before clasping it, allowing himself to be pulled to his feet. They stand silently for a moment, rain dripping from their uniforms as they acknowledge the shared humanity that has emerged through their struggle. Their gazes linger, heavy with unspoken respect and sorrow. Without a word, the two men turn and walk in opposite directions. Their footsteps are heavy, fading into the thick mist as they disappear into the endless fog. The camera lingers on the empty battlefield, focusing on the muddy ground where their weapons once lay. The faint image of their floating muskets appears briefly in the distance before vanishing entirely, leaving behind a quiet stillness and the profound sense of peace that comes with letting go.
THE PERFORMANCE LOOKS NOD TO THE 1700S
THIS CONCEPT PUSHES THE BOUNDARIES OF LETTING GO.
BENDING THE KNEE TO DEATH (THE UNKNOWN) WHICH REVEALS OUR TRUE PURPOSE.
RELATED WORK
Kick it off with some performances
POWERS
HOT
LINDSEY STIRLING
GENSHIN IMPACT
TANNER ADELL
FU-150
FLOATING VFX EXAMPLES
LINDSEY STIRLING FT. MAKO
LOSE YOU NOW
JMSN
JAMESON
ACTION PACKED NARRATIVES
LOGIC
UNDER PRESSURE
NOTHING MORE
FADE IN / FADE OUT
