The concept of the film is a musical adventure through a landscape of rich cinematic imagery. The cameras follow a band of performers from their Midwest origins (Act I), to their joining a company of celebrities on a grand concert tour from New York to Paris, to the mountains of Afghanistan and Tibet, and ending with a real live Peace Concert in Israel (Act II). A series of large & small stadium concerts provide the narrative framework for Act II:
New York - Rio - Capetown - Paris - Moscow - Istanbul -
Kabul - Mumbai - Lhasa - Seoul - Manila - Tonga -
Madagascar - Tel Aviv
These concerts will be part of a world tour entitled "Stop The Madness" which will be produced separately from the film, although some of the actors from the film will participate live in at least one of the concerts. Some concert footage will be excerpted for placement in the feature film. Some concerts will be shot off-location on sets, but some generic on-location footage will be used in every case.
(For information directly relating to the proposed concert tour and its content,
please go to"Concerts")
The first half of the film follows the emergence of the young rock group "The Visionaries" from their family roots in the Midwest to their attempt to win a record contract in New York. In the second half of the film, or Act II, the group is part of an international Peace Concert tour, climaxing in a dramatic conflagration and resolution as part of the music video sequence during the finale in Tel Aviv. The film becomes increasingly more impressionistic and poetic in Act II. It becomes primarily music video, concert footage, and a guerilla type cinema verite that captures the ethnic feel of several locations. All this is interspersed with dialogue and news flashes that reflect a backdrop of mounting apprehension and an alarming surge in world tensions.
Local acts will share the stage. Footage of ordinary life (with interviews) will be part of each location shoot. Pre and post-concert story scenes provide opportunity for dialogue and plot development, offsetting the live concert scenes and docu footage, and providing contrast with the more conceptual music video segments.
The script does allow for a great deal of improvisation, especially during Act II, or the second half of the film. The pictures and lyrics mainly tell the story, set against a backdrop of disturbing media reports and news clips. The viewer is led through a wide variety of music video scenes, alternately experiencing contrasting visions of beauty and destruction, romance and terror.
The forces of light and darkness are in steady competition throughout the film, and the choice of which future to choose is always an undercurrent. The idea of faith in a saving grace, a merciful and intelligent, loving higher power is ultimately the winner, but only in the final frames of the movie, from out of the apocalyptic crescendo of the finale, “Love Come To You”.