VIDEO TREATMENT
With this video, Sean Burke wants to pay homage to his parents, show where he came from, show his struggles with his various music groups, and to highlight that he is a descendant of three generations of musicians.
The song was composed in a moment of sheer frustration with the way his career was shaping up, and here he speaks directly to his detractors, who would much rather see him reduced to a beggar than see him succeed.
Video Treatment
The video is a metaphor for the phrase "to take one step forward and two steps back"
All the scenes were shot at a lipsync speed of 50% slower than normal, and then sped up to the normal tempo of the original song. This gives the video a very fast and jerky feel, especially as a metaphor for the amateur environment of a Popstars audition.
In the Popstars audition queue scene, a very complex effect was used where, for every alternate bar, Sean had to sing the alternate bars in reverse.
For example, where the phrase over two bars is "there's no doubt you wanna put me in your pigeon box
and say Sean rocks so you can make sense of your world and see if I'm a part of it or not", Sean had to deliver it as follows: "there's no esh-nee-moo-nee-ooh-sow-waugh-shareshnee-show meh shnimoni- moop-meh-no-moesh-aah of your world and see if I'm part of it or not". The bars that were in reverse, are then reversed again to create the basic vowels and consonants of the normal phrase. The achieved result is to create shots where the lipsync is normal, but camera movements and subjects go back and forth to substantiate the metaphoric video treatment.
In the "beggar" scenes, complex layering of video clips were undertaken to create the scenes where the cars and people move independently from Sean, the subject, in the same scene. This creates some weird special effects to show how Sean's career is not smoothly orchestrated like those of today's disposable popstars, but rather stutters along, like taking one step forward and two steps back, due to factors completely beyond his control.
