К сожалению, фанам пока не удаётся раздобыть запрещённую версию клипа "Never Again"...
Максимум,что я нашёл - это весьма подробное описание сюжета:

dickfilm #:
written 5/28/2002

FIRSTLY...
We cut a ripping performance piece from the existing Live In Edmonton footage utilizing hot pieces from other numbers in the show - in other words we condense the magic of the 70 minute piece into 3 rocking
minutes.

Because the lyrical content of the song is intense this is NOT an occasion where close-ups of bouncing babes in the front row are welcome. Consequently our cut of the live footage will focus on the band and will
only feature wide sweeping moments of the audience to place the band?s performance in a context.

When cut together the live footage is then treated so it feels more extreme, edgier and harder than the existing live cut. (The treatment we used for the long-form was meant to be more realistic and less artful - a
reflection of the live show as witnessed).

SECONDLY...
We stage a shoot in a tired, beaten up apartment which feels as if it might be in a typical project in New York or any other North American metropolitan city. The action takes place inside and involves three
spaces: staircase, the hallway and the apartment living room.

This shoot is executed guerrilla COPS style. A couple of digital handy cams, one digital stills cam, a hand held light that fits on top of the camera. No dollies, no tripods, no grips, no gaffers, no motorhomes, no
playback, no hair-stylists etc. The footage that comes from this small shoot is edgy, real, gritty, powerful.

We are witnesses at a crime scene just after a murder has taken place. We notice the emotions of the cops, the witnesses and the abused wife who has committed the crime - we see glimpses of the crime scene but the horror and the emotion is registered in the words of the song and in the reactions of the actors.

The action includes...A woman?s face screaming. 2 uniformed cops run up the stairs of the apartment building. The cops reach ground zero - 4 witnesses are staring into an open door and look anxiously at the
uniformed men as they arrive.

The men look inside the door and can tell instantly what the scenario is...most importantly we can?t. Cop One immediately starts pushing the onlookers back, Cop Two gets on the radio calling for back-up.

Cop One is takes notes from one of the witnesses (a woman neighbour, 30?s) who explains to the cop what happened: (?She must have done something wrong tonight...?) Cop One interview?s another one of the
witnesses: male, nerdy, glasses, also a witness. (?I hear her scream from down the hall, amazing she can even talk at all....?).

Sanchez, a young, earnest detective has arrived and is getting his first impressions. He discusses the scene with Cop One (?Seen it before but not like this...?) The young detective looks over Cop One?s shoulder at the crime scene, taking in what he can. With him we see for the first time, Deneice, a woman in shock, the perp., looking confused, shaking, sitting on a chair in a corner trying to figure what has happened.

Sanchez patiently interviews Deneice, her hair is a mess, her eyes are red with tears, her make-up has run, her blouse is ripped and she has scratches on her arm. (?she looks at you, she wants the truth...?). Deneice waves her arm behind her pointing at the body which we see for the first time now lying under a coroner?s sheet. Deneice breaks down and Sanchez gets to his feet and sighs - on nights like this he hates his job.

Crime Scene Photographer arrives and takes pictures of the crime scene and his flash illuminates the room but all we see are glimpses: a cold dead hand, a smashed vase and beer bottles, an upturned chair.
Mitchell, an unshaven, older weather-beaten detective has wearily climbed the stairs. The cops and Sanchez treat him with the deference automatically given to a superior.

The crime scene has now been cleared of everyone except Mitchell and Sanchez: an outline is all that remains of the body, the door is open but a crime scene tape blocks anyone from entering. As Mitchell tips the chair up the proper way, sits wearily down and lights a cigarette, Sanchez, putting rubber gloves on and taking a ball point pen from his pocket, explains how the crime went down: ?He?s drunk again...? (he points to the broken beer bottles), ?she grabs the gun, she?s had enough...? (he points to the weapon on the floor with his ball point pen), ?pulls the trigger fast as she can, never again...? (he points at the outline on the floor).

Mitchell nods at Sanchez, satisfied with the young detective?s analysis of the crime, and walks to the window. He takes a weary drag from his cigarette and coughs, his body shaking with years of wear and tear.?Been there before but not like this...?

Mitchell makes a statement to the press. In the tight doorway of the tenement he is blinded by the lights of the camera crews and microphones are thrust in his face. His face is pale and tired. (?Never before have I seen it this bad...?).

THEN...
The images from this story are distilled into perhaps 20 or thirty looks / moments which are just enough to endorse the lyrics of the story. Many of these images are abstract images of Deneice as she sits in the corner of the room waiting for some kind of judgment (never delivered). As these images are shot on tape they are treated in exactly the same way as the live footage from Edmonton - edgy, hard.

These moments are intercut with the live footage from Edmonton. Brief glimpses of information and emotion that complement the lyrical content of the song. But band performance reigns supreme.

THIRDLY
With the live performance / conceptual footage as our bed we then overlay this bed with graphics, letters, phrases and information in the way trailers are made for sports shows, news programs, ESPN, CNN, ABC, FOX, upcoming episodes of The Law or whatever.

The way the lettering and graphics appear is sharp, cool and almost disguises the potent information that it contains. The fonts are edgy, they stutter and shudder on screen, they fill textured boxes which move
around the frame. Unlike the Rage Against the machine videos where the information is LARGE, full screen, direct and in your face, lingering on screen for some time, the NICKELBACK version contains information in much smaller fonts and is cleverly cut up so that it will require frequent viewings for the viewer to absorb all the detail. In each case the information starts with a number.

For example: brief frames appear which say 4 MILLION overlaid over the existing footage. A few seconds later another caption reads: WOMEN A YEAR ARE ASSAULTED BY THEIR PARTNERS. A brief caption appears 37%...seconds later the follow up caption reads OF ALL WOMEN EXPERIENCE BATTERING. Similarly: 95%.............OF DOMESTIC VIOLENCE VICTIMS ARE WOMEN. And: 93%............OF WOMEN WHO KILLED THEIR MATES HAD BEEN BATTERED BY THEM.

By breaking up the sentences and keeping the titles small we tantalize the viewer rather than knocking him over the head with the information, the viewer needs to work to find it. This video is the antithesis of Pop-Up Video. The slogans are delivered at a time which suits the lyrical content of the song and the visuals we create.

And as Chad sings Never Again the letters N-E-V-E-R-A-G-A-I-N fly one by one at the screen like bullets hurtling towards the viewer. It almost gives one whip-lash as you feel like you?re ducking from the letters.

© Nigel Dick 2002

A number of people have asked about this video - especially as it was never released. We already had performance footage from the Live At Home show, could we find a way to use this footage and mix it up with something conceptual? As the live show had been shot on tape I came up with this idea and was allowed to shoot it on a small budget. I thought it worked really well and loved the way it punched home a theme about domestic violence which the lyrics supported. Obviously the band and the label didn't agree. The conceptual footage was shelved and they went with a performance only version.

http://www.nigeldick.com/

Вы уж простите - не перевёл )))) Суть точно поймёте!
Если только когда-нибудь мы увидим этот клип.........