Music Video, CD Digipack, Music Magazine Advertisement And Evaluation Questions

         

Music Video




            



CD Digipack

Music Magazine Advertisement

Evaluation Questions

Planning: Casting

This is a series of who I had considered to cast for the music video. However, after deliberation, I have come to the conclusion that they either didn't have the right flair, or were not male as the voice in the song. 

         

I then decided to try someone else for the role and he proved to be suitable for the role as they exuded a confidence that the others did not and were a certain age that it would not look weird to have a manly voice.

Planning: Props

I decided that I would not be using any props in the making of my music video.

Planning: Costume

After listening to the lyrics of the song 'Terrible Tommy',  I have decided that the tone of the song should reflect on what the actor is wearing. So lighter coloured clothing is not an option, dark jeans and a darker shirt is the most logical option as the song has an underlay of anger and despair and to also represent his lack of hope. I have also decided that the clothes in the narrative should remain the same, however, the clothes in the lip-sync should change, and get darker towards the end of the song to highlight how for him, there is no coming back from this anger and hatred.

Ideas for the clothing in the Narrative:

I decided that a checkered shirt is more likely to be in the folk/alternative genre as it is a common reoccurrence. Skinny jeans are very common now and are seen in all types of genres. The brown boots make it more authentic for a folk/alternative style.

Every cut to the lip sync, the checkered shirt will change and get darker as the song progresses to highlight the actor never being able to escape from his fate and make a new one.

Planning: Shot List

To fully understand why a shot list is important, I have looked at some videos. Some were helpful in explaining to me what they are for, why they are needed and what the best way to use them are. I have also learned that I do not need to fully follow the shot list as it is like an organism that can be added to or taken away from.            

            

After watching videos similar to this, I created my own shot list. 

Shot Number	Location	Shot Type	Actor	Description
1,3,5,7,9	Hallway	longshot	Mr Young	Walking to the camera from the other end of the hall
2,4,6,8	Black	-	-	Black screen
10,12,14,16,18	Community Room	Close up	Mr Young	Lip syncing to the song

However, although the shot list is a good ground to follow, I can experiment with different shots or add different shots in. This is so that when it comes to editing, I can determine what shot looks better in the sequence.

Planning: Lighting

Lighting is an important component of visual design as it can create a substantial emotional impact. However, camera positioning has an equal effect on how a scene is represented as if the camera is facing shadows, it gives the subject an ominous atmosphere and audiences would relate them to being dark or evil. In contrast to this, if the camera is positioned away from the shadows, and the lighting is diffused, then it provides the subject with connotations of being innocent and well liked. Whilst extremely bright light can cause discomfort. The brightness of the light contributes to the effect of a scene. It also contributes to the clarity of the scene.

After searching the internet, I have found many useful tutorials on how to use the lighting to my advantage and how to use one light if there is limited resources.

The first video highlights how important lighting is for the atmosphere that you want to convey in the scene. This links in with light placement as lighting upstage adds depth and dimension to the scene, however, I will have to adapt this as instead of my actor looking side on at the camera, he will be looking towards it, as it is not a film, but a music video. Although, In the narrative, these techniques may be useful in telling the story.

The second video shows me that flags are useful in shaping shadows to create a negative scene, which would be immensely useful as in the narrative, there is nothing positive to convey. It has also shown me that there is differentiating tones to the shadows, i.e. soft or sharp. This is useful to know as the sharpness of the shadow is important in the conveying the mood of the scene.


             


             


After looking around on different websites, I have found useful information on different tips for lighting techniques.

This article from tubularinsights.com has shown me that different light intensity is needed for different shot types. Which is useful because it mainly discusses the use of light in creating a positive atmosphere, whilst I will be using it in a negative way. However, this has given me useful tips for future reference.

I have also found an interesting blog on how to film without lights, which I believe would be useful if equipment is not available to me when needed.
This has helped me to understand how to utilise the natural light around me and work it to my desired effect. It has shown me how to use the light outside and inside. This has created a wider range of places for me to film as it has taught me about how sun placement is important and how a silhouette shot may be an interesting thing to use in my video.
However, when inside, it is important to face the actor to the light and avoiding bright backgrounds so that the camera is not battling with exposure and so that they are visible on camera.

I have also found a bounce light on Amazon, which I believe will help me with the video as I will be able to bounce natural light on to the actor. This will be beneficial as I could control the lighting in a room and how much light is being bounced on to the actor, which would affect the atmosphere that I will be trying to create for the music video, such as a darker tension or illuminating the actor to link to a new hope or beginning.

These are photos of the light boxes, which I experimented with. 

The 'test' button causes a flash for camera photography, whilst the 'model' switch keeps the light on. 

These are photos of a light on a stand, which I experimented with. 

The switches are very similar to that of the light boxes. 

The flags on the side would be useful in shaping the light to create the desired effect. 

Planning: Initial Ideas

IDEA #1

Side track shot of person walking through a cemetery.
Sadness and anger conveyed through multiple facial expressions.
"Hard way to fall" standing on top of a building looking down.
"20 years behind me" walking down the steps of the court looking back in disgust.
"ain't no good reason why I should still be alive... today" back to the building looking down.
INSTRUMENTAL looking conflicted, angry and sad. Building up for the jump.
Crying?
Ends with a track out, person still on the side of the building "blink" effect, person gone fast track to look over the side of the building. person on the floor dead. Cut back to the cemetery. person walking until they fade out.

IDEA #2

Open with images in nature, time lapses etc.

Music fade in.

Person walking toward camera miming, different time lapses at different intervals.

I had the time lapse Idea from this music video:

IDEA #3

Person walking down the road.
Lip syncing.
Different tracking shots.

Different places appearing behind the person.

The music video that gave me this sort of idea was:

Research: Who Are My Target Audience?

Patrick is 19 years old, and is always listening to music in one way or another. Patrick mainly likes to listen to music that has meaning, this is why he loves to listen to Folk songs. He loves to attend multiple Folk Fests, such as Shetland Folk Festival and The Cambridge Folk Festival. Patrick loves to immerse himself in the environment and atmosphere provided by his friends and live music. Patrick loves to share the music he listens to with everyone around him.

Patrick loves the pub environment he works in and gives his input to what songs to play on the jukebox. His passion for music drives him to listen to different artists such as Joshua James, The White Buffalo, Flatfoot 56 and The Black Keys. Patrick downloads all of his music on to Spotify as it is more convenient for him. Although, if he really likes a particular album he would buy the CD for his car, but he usually just burns songs on to the CDs as it is just as cheap as Spotify.

These are the types of audiences expected at a Folk fest.

Planning: Filming Schedule

17th April - Film the lip syncing in the Community Room in the Sports Pavilion.
19th April - Film the walking in the hallway in the Sports Pavilion

Planning: Filming Locations

I decided to film the lip syncing in the community room in the sports pavilion and the walking in the hallway.

Here are the images of the locations.

Planning: Storyboard Animatic

Research: Detailed Research Into Chosen Artist: Ryan Horne

Ryan Horne was a difficult artist to research, because he does not currently have a website that works and he is not even well known enough to have a Wikipedia page. This has limited my research as the facts that I have found might not even be up to date. I have currently gotten into contact with him, and await a reply. This page may be updated. 


Biography: 

Ryan Horne started his music career in 2001 with his first full length independent album, "Second Door on the Right," produced and engineered by Dave Moody and Moody Multimedia in Charlotte, NC. From there he took his studies to Middle Tennessee State University where he graduated in May 2005 with a Recording Industry Degree with an emphasis on Production and engineering. 

Discography:

Horne has 8 albums to date, his most famous album, "The Whistler and the Majestic" was released on the 25th October 2011 with only 3,891 listeners as of today. The most recognized track across all the 8 albums is "Terrible Tommy", which has got 4,454 listeners and a wide fan based because of its debut on the hit FX series Sons of Anarchy, which boosted his listeners and notoriety. The rest of his songs drop drastically with the amount of listeners there are, an example of this is the song "Sleep Baby Sara" which only has 38 listeners.

Links To Ryan Horne's Social Media Platforms:

Facebook

Twitter

Instagram

YouTube

Interviews With Ryan Horne:

Research: Three Potential Artists and Albums

Research: My Favourite Music Video: Textual Analysis

Twenty One Pilots: Heathens

Context:

The noun, Heathens means a person regarded as lacking culture or moral principles. 
Heathens is a song by the American musical duo Twenty One Pilots. It was released as the lead single for the motion picture soundtrack of Suicide Squad. The song was written by Tyler Joseph and produced by him along with Mike Elizondo.
Tyler Joseph, when writing the song, wanted it to be a Twenty One Pilots song before being a movie soundtrack. He wanted the song to resonate with his fans and make sense in his shows even though the themes in the movie inspired the beginning of it, and as the lyrics of the song came together he realised that it was his song.
On June 15th 2016, the song was leaked onto the internet and on the following day it was announced the song would feature in Suicide Squad.
On June 21st 2016, the official music video, directed by Andrew Donoho, was uploaded to the Fueled By Ramen YouTube channel. The Video has over 170 million views and over 1.85 million likes as of September 4th 2016. 
The clip won an award for Best Rock Video at the 2016 MTV Video Music Awards   

Content:

It opens with an establishing shot of the swamps of New Orleans in the fictional high security prison of Belle Reve in the DC Universe. 
A plane is landing and guards are in a boat on the swamps. 
A truck drives past and guards walk by and the gates of Belle Reve Special Security Barracks is revealed. 
A guard is walking alone down the gangway in the penitentiary. 
Prisoners are in their cells with their hands through the bars, while sirens sound with shouts in the background. The sense of failure and the feeling of lost hope is present. 
The guards walk Tyler Joseph down the hall to his cell. Music starts. 
Cut to a guard in the security room.
Cut Back to Tyler waling down the hall.
Cut to Harley Quinn in her cell, scenes from the actual movie are present in this music video to promote the film. 
Cut back to Tyler in the hall.
Cut to Killer Croc.
Cut to view of the bright lights on the ceiling.
Cut back to Tyler, still walking down the hall, but the dingy light makes his face not visible. 
Cut to Eyeline match. with a quick edit of Tyler walking in front of the camera, followed by another quick edit of him disappearing.
Cut back to Tyler with his face in the dark, still walking down the hall.
Quick edit of the two guards behind Tyler disappearing and then reappearing.
Cut back to Tyler walking in front of the camera.
Cut back to eyeline match in a 180 degree turn, light appears from a cell that contains Josh Dun playing the drums.
Cut back to Tyler walking down the hall, but looking into Josh's cell. Tyler then stops and faces Josh's cell with the vacant expression still on his face. 
Cut to a long shot of Deadshot in his cell looking out of the window, followed by a quick cut of a close up of Deadshot looking out of the window. 
Cut to Deadshot interacting with someone and tilting his head in question. 
Cut back to Josh in his cell playing the drums.
Cut to El Diablo in his cell, Lifting his head sat down, then cut to a close up of his face while he uses his power to put the words "Goodbye" above his head in fire.
Cut back to Tyler walking closer and looking into Josh's cell. Tyler puts his hands around the cell bars.
Quick edit of the light in Josh's cell flashing to then be replaced by guards walking up and down the halls OUTSIDE of the cell that Tyler is in. His hands are still on the bars in the same position.
He then removes his hands from the bars and steps back looking confused.
Cut to the camera outside of Tyler's cell, Tyler sits down on his bed.
Cut to a guard in the security room eating Chinese noodles.
Cut to a visual of the security camera feed of Tyler's cell, time sped up. 
Cut to another camera feed, Captain Boomerang is angrily looking into his security camera.
Cut to a long shot of El Diablo in a different cell, with a lit match, looking into the mirror.
Cut to an over the shoulder shot of El Diablo looking into the mirror, he slowly blows out the match.
Cut to  a close up of Tyler in his cell.
Cut to a side view of Tyler in his cell. He slowly stands.
Cut to an extreme close up of Killer Croc's face looking between the bars of his cell.
Cut to a High angle shot of Harley Quinn looking up at a guard, her hands are on the bars and he looks amused whilst talking to her. 
Cut to extreme close up of Harley Quinn with her face against the bars, looking at the guard.
Cut back to the security room, a finger is slowly moving towards a button.
Cut back to a close up of Tyler in his cell.
Cut to side view of Tyler.
Cut back to close up of Tyler.
Cut back to side view of Tyler.
Cut to a side track of Tyler in his cell. 
Cut to an over the shoulder shot of Tyler looking at his cell door. Josh is on a platform playing the drums and moving down the hall illuminated by a light, the cell door opens.
Tyler stands up and walks out of his cell. 
Cut to a Tracking shot of Tyler walking down the hall, in front of the camera.
Cut to camera in front of Tyler, too dark to see his face.
Cut to Eyeline match of Josh in the middle of the hall playing the drums.
Quick edit of Josh disappearing then reappearing.
Cut to a mid shot of Tyler turning the corner.  
Cut to an over the shoulder shot of Tyler walking towards Josh.
Cut to a long shot of Tyler walking down the hall, Josh is gone. 
Cut back to an over the shoulder shot, Josh is back where he was playing the drums.
Cut back to long shot of Tyler in the hall, Josh is gone again.
Cut to side shot of Deadshot strapped to a chair with army men and doctors around him. 
Cut to a side close up of Deadshot.
Cut to Tyler walking down the hall, he is in the dark, cannot see him, only his outline.
Cut to Killer Croc, who is strapped into a Hannibal Lecter esque contraption to be transported.
Cut back to Tyler walking, who is now out of the darkness.
Cut to a over the shoulder shot of Tyler walking toward Josh who is on the illuminated platform playing the drums.  
Cut to Mid shot of Tyler still walking.
Cut to eyeline match of a guitar that is hovering in the air next to a microphone.
Cut back to mid shot.
Cut to a side long shot of Tyler walking onto the platform.
Quick edit of the prison jumpsuit disappearing from Tyler to make way for a golden tux jacket and black shirt.
The 180 degree turn of Tyler lifting the guitar strap over his head.
Cut to close up of Killer Croc.
Cut to close up of Harley Quinn being wheeled down the hall by the army, looking deranged. 
Cut to a long shot of soldiers entering a building.
Cut to close up of Tyler.
Cut to the hallway of cells and prisoners exiting their cells.
Cut to a long shot of both Josh and Tyler on the platform performing.
Cut to the hallway, floods of prisoners walking down the hall. 
Cut to long Track In shot of Josh and Tyler on the platform.
Cut to long shot of the prisoners in the halls.
Cut to mid shot of Tyler playing guitar.
Cut to the Suicide Squad walking down the hall of the building that had the soldiers in.
Cut back to the prisoners running down the hall.
Cut to mid track in shot of Tyler playing the guitar.
Cut to long shot of both Josh and Tyler.
Cu to a different angle of Josh and Tyler.
Cut to the Prisoners walking down the hall.
Cut to Josh and Taylor on stage.
Cut to close up of Tyler.
Cut to side view extreme close up of Tyler at the microphone.
Cut to the camera positioned behind Tyler, the prisoners walking into the room.
Cut to over the shoulder shots of the prisoners entering the room.
Cut to side view extreme close up of Tyler.
Cut to Over the shoulder shot of the prisoners approaching the platform.
Cut to long shot of Josh at the drums. 
Cut to long shot of the platform with the prisoners still approaching.
Cut to Over the shoulder shot of the prisoners.
Cut to close up of Tyler.
Cut to mid shot of Josh.
Cut to long shot of the platform.
Cut to close up of Tyler.
Cut to mid shot of the prisoners bobbing to the music.
Cut to close up of Tyler.
Cut to long shot of Josh.
Cut to mid shot of Deadshot with his fists up in a fighting stance.
Cut to long shot of a cell door opening with water flooding out along with El Diablo.
Cut to Harley Quinn using gymnastics in her cell to take out a guard. 
Cut to Killer Croc grabbing a guard and dragging him into the depths of his sewer.
Cut to mid shot of Harley Quinn holding her baseball bat like a shot gun and making the motions of shooting someone.
Cut to extreme close up of Josh's torso.
Cut to close up of Tyler.
Cut to 180 degree turn around the crowd, Tyler in the middle on the platform.
Cut to close up of Josh.
Cut to 180 degree turn around the crowd, Tyler in the middle on the platform.
Cut to close up of Josh.
Cut to mid shot of Tyler.
Cut to long shot of the platform.
Cut to 180 degree turn around the crowd, Tyler in the middle on the platform.
Cut to close up of Captain Boomerang taking out his boomerangs, looking deranged.
Cut to long shot of Deadshot running.
Cut to low angle mid shot of Deadshot firing his guns.
Cut to high angle shot of a Chinook plummeting towards the ground.
Cut to Josh on the drums.
Cut to long shot of the platform with an 180 degree turn.
Cut to mid shot of Josh, 180 degree turn.
Cut to close up of Tyler.
Cut to long shot of the platform.
Cut to close up of Tyler at the microphone.
Cut to  long shot of Harley Quinn shooting her guns.
Cut to Killer Croc killing something.
Cut to close up of Tyler.
Cut to an extreme long shot of Harley Quinn in her cell, Guards feet in shot walking towards her cell.
Cut to long shot of Harley Quinn holding her hands up in surrender to the guards.
Cut to long shot of the platform. Panning.
Cut to long shot of Guards jogging into Harley Quinn's cell room.
Cut to close up of Tyler.
Cut to track out of Tyler's close up. Back in Jumpsuit, sat in the middle of the hall floor.
Music fades. Alarms are going off. Foot falls. Guards are surrounding Tyler.

Lyric Analysis:

[CHORUS] 

Throughout the song, there is a high pitched voice backing Tyler, as well as a lower pitched voice (Blurryface) in the second half of the chorus. The high pitched voice is essentially the opposite of how Blurryface is represented in many songs on Blurryface as well as in “Screen.”

With the apparent ending of Blurryface’s reign/the Blurryface tour, implementing the complete opposite of him would make sense. Because there is more of the higher voice than the lower voice, it could suggest that Blurryface is truly fading away.

Also, the higher pitched voice may very well be Josh’s demons/insecurities, based on the theory that the Emotional Roadshow tour will revolve around his “blurryface” instead of Tyler’s.

All my friends are heathens, take it slow

Wait for them to ask you who you know

Please don't make any sudden moves

You don't know the half of the abuse

All my friends are heathens, take it slow

Wait for them to ask you who you know

Please don't make any sudden moves

You don't know the half of the abuse

The song shines a light on the fact that everyone struggles internally with doubt and pain. To casual listeners and to new fans, this is a message about how all of us, despite how we may seem on the surface, are all heathens in one way or another. Just as the old idiom states, don’t judge a book by its cover.

On another level, when Tyler talks about “his friends,” he could also be referring to his long-time fan base—those who have cheered him on long before his group was getting regular rotation on radio stations. He’s warning them not to take any hasty action against the newcomers, who now like the band after they have become popular.

“Please don’t make any sudden moves” can be taken quite literally here. Victims of abuse often misinterpret the actions of others to be aggressive. This is because abuse victims have been conditioned to protect themselves out of a need for survival. For instance, something as innocent as the extending of a hand for the purpose of a handshake may be taken as an aggressive action. In short, these lines may act as a warning to use caution when interacting with those who have suffered through traumatic circumstances.

The warnings against making sudden moves, and to “watch it,” may be a specific warning to the band’s long-time listeners to keep in mind that these new fans have hidden problems as well—they too may have been abused. Generally, nobody can tell, as everyone hides such things. Tyler warns that attacking new fans makes the old fans hypocrites, not heathens.

Of course, these lines also hold a literal relation to the movie ‘Suicide Squad,“ as the squad is made up entirely of villains/heathens.

Welcome to the room of people

Who have rooms of people that they loved one day

Tyler is welcoming the new fans to the “room” of the Clique. In the song “Ride,” Tyler sings about taking a bullet for “everyone in this room.”

A room, in this case, seems to be a metaphor for the group of people that are dear to you and that you love. In this, he is welcoming new fans to the “room” (group of people) who also have rooms of their own of people that they love, but these other rooms have been docked away.

People who struggle with mental health often feel alienated from the rest of the world, even from those they love most. TØP have even referred to “rooms of depression,” in “Glowing Eyes,” as the place that people go where they’re alone with their inner demons. They may find solace by joining a group who have also felt this same sense of disconnection.

Docked away

Just because we check the guns at the door

Doesn't mean our brains will change from hand grenades

Similar to the later lyric about not knowing murderers and psychopaths next to you, Tyler says that even if we can hide our mental issues and “dock them away,” our minds are still dangerous.

In “Guns for Hands,” Tyler talks about how we should “put the safety on” the guns that we all metaphorically have in our hands—that we should turn away from the instinct to hurt ourselves, and instead channel that anger and pain through their music. This song spoke true to and inspired a lot of fans.

However, just because they follow the band’s advice to not hurt themselves, does not mean that their minds will stop being “hand grenades.” In “Guns for Hands,” Tyler encapsulates his hopes of redirecting this instinct to do harm by asking his fans to “turn their [hand] guns to a fist.” This line can then be seen as a direct call-back through the play-on-words with “hand grenades”—though our guns are now fists, they still have the potential to explode and do damage. Our brains and our way of thinking can still be destructive.

We see this same theme in songs such as “Semi-Automatic,” where Tyler describes his, and humanity’s, more sadistic tendencies, saying “I’m semi-automatic,” a gun waiting to shoot off.

Getting rid of an object or physical component does not alter the intention. Taking away a medium with which someone could inflict pain upon others or themselves does not eradicate the internal conflict. It merely provides an illusion of safety.

With respect to Suicide Squad, this song is featured in a movie about villains that are locked in a black site and taken out to do work on even worse bad guys. To keep them in line, Argus implants bombs in their heads. Cool metaphor in this song, cool relevance to the comic book movie.

You'll never know the psychopath sitting next to you

You'll never know the murderer sitting next to you

Even those we consider to be our closest friends may not always have good intentions. We may very well believe the intentions of a psychopath are good due to their ability to emotionally disarm people with a sophisticated sort of charm.

Sociopath and psychopath are (almost) interchangeable words.

Both terms fall under the clinical umbrella of the antisocial personality disorder. The name of this disease is misleading; it does not refer to people who avoid social situations. Individuals with this affliction are actually very skilled in adhering to social norms, blending in with the rest of us. According to psychologists, they possess captivating personalities. In some cases, they have an almost hypnotic quality of charm to them. A Psychopath lacks the emotional feelings most of us consider to be inherent to basic human nature. Most notably, they usually have little to no empathy. They don’t experience remorse or shame, giving them the ability to murder for reasons most of us may consider trivial. Their ultimate goal is to benefit themselves, everyone and everything is fair game if it will benefit them in some way. A true Psychopath also has a deep understanding of how they’re supposed to act, therefore people may be unable to tell when there’s really a psychopathic murderer among them.

You'll think, “How'd I get here, sitting next to you?"

This line foreshadows the lyrics in the second verse. Outsiders will come to us and we will question why we are so close to them. Why are we so alike, yet so different?

Tyler may be singing to the new fans, who are confused as to how this music has associated them with people possessing these seemingly extreme psychological problems. They have yet to realize that they have similar issues.

This line could also work the other way around. Tyler may be referring to his more established fan base, anticipating their response to being lumped together with the new fans.

Alternately, he could also be referring to something we will never guess at. Lines like these are definitely open to different interpretations. Some of the greatest musicians use lyrics that can be interpreted in a number of ways, increasing the likelihood that listeners will connect to the music.

But after all I've said, please don't forget

A call to the listener to recognise the importance of everything he has said throughout this song: despite the fact that others may call you out for every flaw, despite all the doubts your mind has plagued you with, don’t forget you’re not the only one struggling, you’re not the only one feeling like this, and you’re not alone.

There are both hopeful and disturbing connotations to this assertion that echo throughout the rest of the song. On one hand, there are other people you can reach out to and find solace with. But on the other, it’s slightly terrifying to accept that other people have the same sorts of awful thoughts that you have had. Everyone is a mixture of good and bad, and we have to watch out, both for others and for ourselves.

It is also worth noting that, while Tyler may just be trying to add emphasis to the importance of the song, it is equally likely he could be referencing all his other music. This song primarily focuses on reminding people to be sympathetic and gracious to people, regardless of our opinions. Tyler’s music is supposed to act as a means of support for the Heathens, the abused, the murderers, the psychopaths, and anyone else who happens to listen. It may help listeners with depression and suicidal thoughts offer some general sympathy to the distressed; or simply act as some fun music to brighten their days. Regardless, it’s there for anyone, not just the clique, the new fans, Christians, or Heathens.

We don't deal with outsiders very well

They say newcomers have a certain smell

You have trust issues, not to mention

They say they can smell your intentions

Close-knit groups, especially those who have formed their ties through suffering, often have issues with accepting things they are not familiar with—they fear the unknown. Life has taught them to be hyper vigilant against those who may intend to do something bad or even harm them. Their instincts, here connected to the animalistic sense of smell, perceive every stranger as a threat.

Tyler is talking about how “he and his friends” (he and his fan base, the clique) are wary of new fans/outsiders coming in and joining the music merely as a result of their new-found popularity, as the band’s messages—such as struggling with anxiety, and confronting one’s own feelings of wrongness or otherness—speak very personally to them. The line connects to the paranoia old fans feel toward new people entering the clique.

The specific references to the sense of smell can also be read as a call-back to “Stressed Out,” where Tyler talked about the “certain smell” that takes him back to when he was young. In that way, this line references how “Stressed Out” threw them into popularity and brought many of these “new fans” to the band.

You'll never know the freakshow sitting next to you

You'll have some weird people sitting next to you

You'll think “How did I get here, sitting next to you?"

People are able to, as earlier stated, “Check their guns at the door,” or hide what mental instability or problems they have. You will never be able to tell who has real problems on first sight. Basically this is a darker version of “you can’t judge a book by it’s cover,” saying even the new fans of the clique have problems.Here Tyler is singing to the new fans, who are confused as to how this music put them with people with seemingly extreme problems, but they haven’t yet realized that they too, have extreme problems.

(Watch it, watch it)

Said by Blurryface, this could either be interpreted as:

A warning to “Clique” members to be careful around new fans, instead of calling them “fake.”

A warning to Tyler to stop trying to include people, and to follow his instinct of excluding those he doesn’t trust.

Why'd you come, you knew you should have stayed

(It's blasphemy)

I tried to warn you just to stay away

And now they're outside ready to bust

It looks like you might be one of us

This outro is addressed to new Twenty One Pilots fans. In “Clear,” Tyler sings about how his songs will “get yourself inside you"— An allusion to reflecting and looking inside yourself.

​Twenty One Pilots have become very popular for not only catchy music, but for their very deep, introspective lyrics. One of the fears that the Clique has about new fans is that the meaning of the lyrics will completely pass over them. The original fans don’t want anyone treating the band’s music like any other Top 40 fare, listening mainly for a hot beat and a catchy hook, a sentiment shared among the more intellectual artists in the music industry.

Here, Tyler is addressing those new fans who have found meaning in the lyrics. Due to the introspective nature of the songs, new fans may find something frightening inside themselves of which they had no conscious knowledge of. When he says “they’re outside ready to bust,” he is referring to the demons, dark thoughts, or “glowing eyes,” that are waiting to attack the new fans. As soon as the new fans come to the realization that they too are drawn to the music because of their personal demons, they officially become members of the ​twenty one pilots‘ Skeletøn Clique.

“We’re broken people,” he sings in “Screen.” This song embraces all its listeners as fellow “heathens,” and thus as the singer’s friends.