— For greater proof of concept and for a better work opportunity. … First, to be clear, we’re very aware of how steep (like, steep) of a climb the current funding goal is. Because of that, we’re also aware of and open to the reality that we may only get to make one episode, or maybe just a few. To start, we’ll go for eight, knowing we can always scale back as needed.

Besides that, the decision to make multiple episodes at the start is determined by both the story and the team. For the story, it’s about greater proof of concept. More episodes allows us to better set up the structures of the larger story and to smooth out the variety of tones and notes and characters in the series. It allows time to get into a groove as an “ongoing” series can take a few episodes to get fully into gear. … For the team angle, eight episodes simply provides more security and opportunity with greater and more consistent work to be done, plus it offers more chances to create and to feature skills.

How did you decide on eight episodes?

— Right now, eight episodes equals Part 1 of a 10-part story. … Structurally, the scripts are written in sets of four, with a broad theme for each set. For example, episodes 1-4 are “First Days” in which we see the chaos and excitement of the passengers in waiting. The next episodes, 5-8, are “On Holiday,” or the first weeks. By the end of episode eight, characters start to contemplate the “whys and hows” of staying more permanently, setting up Part 2. Moving forward, each “Part” generally consists of eight episodes.

— The project today is totally independent. There are, right now, no outside backers nor are there connections to any network or streamer. It begins with myself [Evan], as the writer of the first episodes. By the end of Summer, we’ll work to have 8-12 more team members, including producers and main cast members. Next, we’ll continue to add department heads and supporting cast, with the objective of both securing sufficient funding and having the team already assembled and prepped by the end of the year.

(We intend to try to raise funds through crowd campaigns, first and foremost. This is, of course, out of necessity, but also, we’re excited by the idea of crowdfunding - as opposed to trying to pitch and sell - because it can keep ownership and thus the rights and any long-term benefits of the series in the hands of those who would be on the ground making the project).

— We’ll talk more on budget items in the next section. Here, we’ll go over general context for the series that informs the scale of the goal:

1. Schedule

The budget is built around a roughly, three-month filming window for the eight episodes. That’s about one episode, per 10 days (including off days), with extra days built into the front and the back for prep and contingency. There’s also pre and post production windows of similar lengths, resulting in a longer-term project.

2. Travel

The goal is to film on-location in a place that serves the story and to scout key cast and crew members from anywhere (as opposed to just Los Angeles, for example). Either way, it incurs travel and housing costs for a wide-ranging network of people. For the funding goal, we played out travel scenarios in the top four setting choices, to date, and conservatively used the most expensive outcomes, from flights to housing, in the budget.

3. Standards

Frankly, we’re trying to make something above the “bottom” levels. (Not much above, but above nonetheless). Some independent projects afford only the most basic elements of camera and sound and key performers. For Bound, in addition to those essentials, we’ve also included funding for design and production team members - and their tools - to elevate what’s on the screen and to provide a better and safer experience for all.

4. Future

Throughout the budget, we’ve made decisions with the long-term play in mind. For example, we budgeted roughly 20% more for gear (like camera kit, camera rigs) in an effort to purchase pre-owned, professional gear upfront to avoid the costly rental loop, plus owning gear allows more flexibility in filming dates. We’ve also considered elements like platform and marketing costs to promote better engagement with and wider delivery of the series.

What happens if you go over or under the estimated budget?

— If we go over, it means that scenario is over, and we’ll have to find another way to make things happen within the defined financial cap. If the final outcome, by chance, falls under budget, we’d disperse the savings in two ways:

1. Crew pay. If, after review, any of the crew rates fall under an industry standard for a person’s time and/or experience, we’d cover those gaps.

2. Future episodes. The rest would go toward funding more episodes and/or upgrades to the gear or the platform for the series.

1. Location, Location, Location

Right now, we’ve got a short-list of four filming locations. On the other side of fundraising, with more resources and information in hand, we’ll dive deeper into those locations and into new options to select a setting that best meets the creative and logistical needs of the series.

2. Writer’s Room

As of today, the first four episodes are written and the next four outlined. We’ll wait until after selecting the final location, final cast members and until having some writing staff in place before going back to work on the episodes. Both the location and actors will have great affect on the story, so, while we can always be tinkering, we’ll need to know those pieces before locking in a more specific story.

3. Team & Timing

Once the funding, location and scripts are in place, we’ll conduct one more review on the scope and needs of the project, then finalize the team and the plan accordingly. Next, in discussion with the main players, we’ll determine a future filming window that works for the majority, and then begin pre-production in earnest.

4. World Building

The preferred plan is to rent or purchase a space, within the final location, in which we can construct the two, main filming sets: the hotel lobby and the bar/cafe. This time period would be heavily dedicated to that. The other option is to rent out a small hotel (under 30 rooms) for a portion of the filming window and use that as the filming set. Both options can be great; the construction is preferred, though, in that we can customize the space for design and tech preferences. … Also in this stage, we’d build up support crew and assemble gear and other inventory in preparation of filming.

Then, it’s ACTION!