big, dumb plane. WHOLE new world.
— The story goes that half the way on a long-haul flight, a faulty plane is forced to land off-course, leaving a few passengers from around the world stuck in a far off place. Over a few days in a small hotel, those passengers connect - and then decide - to stay and start a life and business together during what becomes a historic time in that new land. That’s So Far Bound - a scripted, live-action, TV series. We’re here to raise funds and find people to make the first episodes. Please browse the site for details on the series and its goals and, if you dig it, please consider supporting the efforts to make it. Thank you!
the top ten
— things to know about Bound.
NOTE — I was told that, whether I like it or not, there’s got to be a name and a face attached to this website. So, I’m Evan Sandoval; I’ll be an actor and writer on Bound. I’ve been in and around film and TV for a decade, doing all kinds of work on productions larger and smaller. All along, I’ve written scripts across genres and self-studied in filmmaking, and for now, it’s me writing in the first (and third) person on the site. Anyway, I really appreciate that you’re here. Let’s do the Top Ten.
1 The Shape
+ Scripted
+ Live-Action
+ Half-Hour
+ Ongoing
— First things first, what are the basic forms of the project? It’s a narrative, fiction series with an ensemble cast and episodes that run between 30 to 40 minutes. Though the series has some weightier themes, which are often associated with longer runtimes, we want Bound to be more in the bucket of our personal, favorite shows, which are mostly half-hour and feature lighter tones and less serialized storytelling. We also envision Bound as having a few more episodes, similar to years past, in which there is room for longer, story threads but also room for one-off, “adventures of the week” and recurring specials. Finally, the plan is to build an ongoing series that plays yearly and on schedule. It’s outlined today at five seasons.
2 THE IDEAS
The stories in a name.
Bound (for) adventure.
The first interpretation of the So Far Bound title is the idea of going somewhere or heading toward some thing. The inciting action for the entire series would be that the characters all decided to catch a flight to someplace new to them, and that action of traveling shapes an overall series theme of expedition. Over time, we’ll see the characters discover, explore, settle and then advance or fall in their new world.
Bound (to) others.
A second interpretation of the title is the idea of being tied to or connected with others. Once the characters get stranded, they’ll each make way to the same hotel, and from there, we add a second shape to the story: the evolution of a found family. Within the walls of their hotel, the strangers will cross paths, attach, and soon, they’ll bind. — Who’s gonna do what, with who, and why, and what next?
3 THE SETTING
* The above photo is for reference; the final, filming location is tbd.
The larger world.
“Lina” — For now, the story is written in a fictional setting, called Lina (lee-nuh). It’s envisioned as a smaller city, whose airport would struggle with the large, grounded flight. It has great features in both the urban (varied architecture) and the natural (hills and sea). It’s pretty, but it’s written with a bit of edge and social dynamism.
“The Aras” — If the city remains fictional, so too, may the region. Think of The Aras like “The South” in the US - a kind of distinct, cultural area within a greater union of land. The plan is to embrace the societal qualities of a real location but to take advantage of a fictional name and play with some of its elements.
* Above, a rough sketch of the fictional street layout.
The local spots.
“The Wild Horse” — With limited hotel rooms in the city, a few of the stranded passengers end up at a smaller hotel that’s quaint but that has seen its better days. It’s envisioned as a property with less than 50 rooms, in a downtown/central setting. … For the passengers who decide to stay, they’ll call The Wild Horse home, for a time.
“The Lime Tree” — A cafe by day and a bar by night. While in waiting, the passengers get most of their meals here and those who stay will continue to treat it as both a kitchen and a living room. It’s envisioned as next door to or down the street from the hotel. Late at night, there’s music and dancing, among other vices.
4 The characters
“Devika”
— A hair stylist by day and a musician by night. She’s the most “normal” one; she has big sister energy within the group.
“Mei Ling”
— A pediatric nurse who used to practice ballet. She’s a little dorky but has some spunk to her. She brings sweetness.
“Samirah”
— A sous chef who draws comics in secret. She has a regal manner but still likes to get down. She brings stature to the room.
“Valya”
— An engineer and decorator of random things. She’s a little weird but only because she’s curious - and the most blunt.
“Al-Haj”
— A plumber with a passion for skate-boarding. He’s streetwise and lively. He makes others laugh but by accident.
“Dwi”
— A beekeeper who likes to write and paint. He’s the “chill” one; easygoing but also aloof. He takes spaces in between.
“Gustavo”
— A roofer who used to play guitar in a band. He’s sort of a brute but with some sincerity. He can bring the bash.
“Jonathan”
— A bin man who can make damn near anything by hand. He’s sunny, smooth but with bite. He connects with anyone.
* The main cast (above) are the flight passengers and the supporting cast are city locals. The main cast would operate in a co-lead format, like that one show from the ‘90s. The support cast would float in and out, with intention to add variety to the story and depth to the setting, on occasion.
The Supporting Cast.
“Fernanda”
— 60s. Owner of “The Wild Horse” hotel. A former teacher; has a worldly quality.
“Katayoun”
— Teen. A housekeeper at “The Wild Horse.” She’s in her bad attitude phase.
“Paz”
— 70s. Runs a small, city newspaper. She’s luminous; she has a killer smile.
“Vicky”
— 40s. The district, delivery driver. She has a kooky, screwball manner to her.
“Boo”
— 60s. Owner of “The Lime Tree” bar/cafe. A former soldier; a real straight arrow.
“Godwil”
— Teen. A security guard on the block. An aspiring policeman. More reserved.
“Jimmu”
— 80s. A bartender at “The Lime Tree.” Used to build ships. A charming guy.
“Red”
— 50s. A hustler and a frequent taxi driver for the hotel. Spiritual; strange.
NOTE — The next sections use references from projects in the 1950s and ‘60s. We ended up there through my mother. When I was a kid in the ‘90s, we had one TV and when it was her turn I had to sit through whatever was on Turner Classic Movies. The first (non-kid) movie I remember watching through was Some Like It Hot (1959). It’s funny; we stay who we were as kids or teenagers, as far the things we like. So, my affinity for that time in movies and TV endures and it’s projects from that era that have inspired So Far Bound’s style elements. — And I know; I should be Marvel-izing or Friends-ifying the references for Bound, but, what I should do isn’t the truth.
5 The spirit
Pictured — Some Like It Hot, 1959.
— What’s the series tone? How do the actors generally perform? Answer: Like Billy Wilder in beast mode. In the 1950s, the director Billy Wilder went on an all-time hot streak starting with Sunset Boulevard in 1950 and ending with The Apartment in 1960. You’d call either of those films a “comedy” first, with their bouncier dialogue, livelier characters and more farcical actions, but each still gave room for sincerity, sensuality and, at times, darkness. Even Some Like It Hot, the silliest movie of the streak, holds grace through the delicate, but still rowdy, performance by Marilyn Monroe.
In Bound, we also want to have a good time first, showing characters in a sillier manner to start, and then, the fun challenge is trying to deftly slide them into moments of quiet or drama, or mania or love, when the story calls for it. The same idea applies to plotlines, too — have fun; find grace.
Pictured — Machito y su banda.
THE MUSIC
— On the whole, the music should be pretty lively as well. The primary theme and score of the series will tailor to the cultural traits of the setting and filming location. In writing, the setting has been envisioned as something more Atlantic/Caribbean, and so, a lot of the current playlist features music with Afro and Latin roots. Here’s a four-pack of songs that got heavy rotation on the writing playlist and set a standard for the series:
6 THE style
Pictured — Fun in Acapulco, 1963.
— What’s the general design guide? Answer: Like the “Elvis Goes Places” sub-genre. Presley starred in a dozen movies in which he went off to some place, sang songs and got the girl. The movies, god bless ‘em, aren’t good, but going to Hawaii or Acapulco in technicolor ain’t a bad way to spend some time. What further separates the Elvis movies from other cool, location films of the time is that they’re so kitschy but in the best ways. For example, the sets in Blue Hawaii or Fun in Acapulco are “chic” on one hand and like a Margaritaville on the other. — Either way, you like to be up in there.
Bound also aims for a “destination” feel to the place in which the characters are stranded. It doesn’t mean we won’t get into the grime of a setting, but overall, we’ll promote color and nature and go for a little flair with both person (wardrobe) and place (set design).
Photograph by Jon Hicks, Getty Images
THE TEXTURE
— To be crystal clear, So Far Bound is set in the present day; the classic references are only guidelines. In fact, the actual texture of Bound on screen may look like the adjoining picture, with a sort of “photo-journalism” feel. The budget dictates that, as shooting on film (the dream) is far too expensive, and access to artificial lighting may be limited. But, that “photo-real” motif can still work wonderfully for both the story and the times. It’s very modern, of course, but what’s more, it does help inform a Nat-Geo-social-science angle that exists within the story (more on that below).
NOTE — Another, cool thing about that mid-century pocket of time is that directors and showrunners were becoming more empowered, stylistically. And so, films and series started to become more unconventional but still within the sandbox of “traditional” pictures. The results are projects that are both old and new wave at once, like The Twilight Zone (1959-1964), for example. … It’s a nice ideal for Bound, as we want to pay homage to past loves but still seek new things in craft, in production and in distribution as well.
7 THE DELIVERY
12.05.26
— The target, premiere date for the series is December 05, 2026. That allows this year to raise funds, assemble a great team and begin prep. Then, the next year to finalize the story and sets, before moving on to filming and finishing the episodes.
How would the series be delivered?
— For now, the episodes would stream for free on the show's home site, called TAR, as well as on public spaces like YouTube at the start. Episodes would distribute weekly at set times. The goal would be for any full season to wrap in no more than two months (or 8 weeks).
Wait, what is TAR?
— Since we’re on our own, it’s important to consider the totality of a series. Not just the story and the episode production, but also the ecosystem in which a series exists. So, while building the first episodes, we’ll also work to build a small platform (TAR) that can act as an engine for Bound (and other projects) and also, if needed, serve as a streaming home.
* TAR is named for my [Evan] hometown of Rocky Mount, NC, divided by the Tar River.
8 THe production
— Right now, the goal is to make eight episodes of the series, or Part 1. The choice for eight derives from both story and the team. For story, it’s about greater proof of concept, allowing time to better set up the structures of the larger story and to smooth out the variety of tones, notes and characters. For the team, simply put, eight episodes is a greater and more consistent work opportunity to be had.
Why 8, specifically? The scripts are written in sets of four, with a broad theme for each set. The eight episodes (or two sets) would conclude Part 1 of the currently 10-part story. Part 1 highlights the arrival period and an early discovery period for the characters, before shifting to Part 2, which would continue their exploration but with ideas on settling more permanently. … Looking ahead, a full season, as outlined today, would mean four sets, equaling 16 episodes, plus two, character specials. (Sorry for all the math).
Set A — “First Days”
Episodes 1-4. The chaos and excitement of the days after landing, with the characters in waiting.
Set B — “On Holiday”
Episodes 5-8. A boom period of the characters further getting to know each other and the new place they’re in.
9 The budget
2.2
— The estimated budget for the eight episodes is $2.2 million, breaking down to about $275K, per episode. That number was decided by playing out different, detailed scenarios of a production at a certain standard. In general, the budget can be divided into five, primary categories: the team, main sets, taxes + fees, equipment and platform. The adjacent boxes detail what goes into each cost. Of course, these are all simplified estimates; ultimately, the budget could be broken down in 100 different ways, within the defined cap.
0 THE CONTEXT
The inspiration for the series.
— Let’s go back to the very start, where the basis for Bound is found in the time I spent traveling abroad in my early 20s. There were short trips, with nights in hostels where a few of us strangers would become quick friends and have good and bad adventures. But, I also had the opportunity to spend extended time in Brasil and Spain, which offered insight into what it might be like to “re-settle” in a different world from mine (I’m from the Southern US). At the time I was traveling, I wasn’t thinking on those terms - not at all. But later, when I got into writing, those travel experiences were all there to build from.
Pictured — Abroad in the early 2010s.
The pieces of the story.
The earliest version of Bound was focused on an individual, before morphing into the ensemble piece it is today. The reason for the shift is a long held interest in social sciences. Because of the travel aspect, I at some point started to see Bound as a vehicle for those geography or anthropology fields that I love and as an opportunity to dive further into them. By building up more characters from different worlds, who are all - in their own way - trying to make a new life in a dynamic and more heavily featured setting, the project could take structure and ideas from those social sciences. Then, the really fun challenge is finding entertaining and human stories within those structures.
NOTE — Listen, there’s a lot of TV (and Tik Toks) out there and it’s gonna be a real, son-of-a-bitch to breakthrough. On our end, we’ll work to make something that’s fun and has a few ideas, and we’ll use our stature (or lack thereof) as a power to try and to be new things. With that attitude and opportunity in tow, So Far Bound can be something that both stands up and then stands out, in some meaningful way. … Thanks so much for checking us out. If you’d like more information, you can find more details on elements of the Top Ten at the navigation bar. Finally, please consider contributing to the campaign to make So Far Bound. — Cheers!
