SO FAR BOUND — The story goes that half the way on a long-haul, international flight, a faulty plane is forced to land off its course, leaving a few passengers from around the world stuck in the same, far off place. … Over a few days in a small hotel, those passengers connect - and then decide - to stay and start a life and surprising business together during what becomes a historic time in that new and different land.
1 The FORMAT
+ Live-action
+ Half-Hour
+ Ongoing
+ Digital
— 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 long. Though the series has some weightier themes, which are often associated with hour-long runtimes, we want Bound to be more in the bucket of our personal favorite shows, like: Martin, MASH, The Office and I Love Lucy.
Outside of MASH, Bound aspires to play more dramatic than those series, but still with lots of levity and closer to that familiar form of shorter, less serialized storytelling. … Finally, the plan is to build a recurring series that plays yearly - and on schedule - like the good ‘ol days.
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 is 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 find themselves 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.
Bound Book Club: Two reference titles for Bound are The Sun Also Rises and One Hundred Years of Solitude, both for their travel and discovery storylines and their ensemble character stories.
3 THE SETTING
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.
(Above, a rough sketch of the fictional street layout).
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 qualities of a real location but to take advantage of a fictional name by playing with some policy and society.
(The above photo is just for reference; the final location is TBD).
4 the characters
The main cast, aka the passengers.
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 chef who draws comics in secret. She has a regal manner but still likes to get down. She brings stature to a 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 skateboarding. 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 support cast, aka the locals.
Fernanda
— 60s. Owner of “The Wild Horse” hotel. A former teacher; she has a worldly quality.
Katayoun
— Teen. 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. A local 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.” He used to build ships; he’s a charming guy.
Red
— 50s. A hustler and a frequent taxi driver for the hotel. Spiritual; strange.
NOTE — The main cast would operate in a co-lead format, like that one show from the ‘90s. The support ensemble would float in and out, with intention to add variety to the story and depth to the setting.
NOTE — All the character qualities written above are a starting point. It’s expected for roles to shift or change altogether after final casting.
— To keep things cohesive, the next sections use references from film and TV series from the mid-1950s to ‘60s. I ended up there through my mother. When I was a kid 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 sitting 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 I know; I should be Marvel-izing the references for Bound, but, what I should do isn’t the truth.
5 THE VIBES
Pictured: Stalag 17, by Billy Wilder — A light-hearted movie with the heavy backdrop of a concentration camp in WWII.
How Bound could “PLAY.”
— What’s the tone? How do the characters (or actors) generally perform? The 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 probably call both of those projects a “comedy” first, with their bouncier dialogue and more spirited characters, but each gave room for sincerity and, at times, darkness. Even Some Like It Hot, which is the silliest movie of the streak, shows grace through the delicate (but still rowdy) performance by Marilyn Monroe.
In Bound, we want to take inspiration from Billy Wilder and company. We 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 sensuality, when the story calls for it.
Pictured: The Magnificent Seven, by John Sturges — Seven is an “adventure” movie that rarely leaves a single town/location.
How Bound could “FEEL.”
— What’s the ambiance? What’s the vibe of the world at large, in which the characters perform? Answer: Similar to the vibes found in the “golden age” of westerns. Obviously, Bound won’t look like a western, but qualities found in that sub-genre were considered during the writing. Things like: a “frontier” element, outlaws, posses, a bit of grandeur and certain kind of “edge.”
For the characters in Bound, they’re in a similar “pioneering” position in a world that’s new and maybe fledgling to them. As for outlaws, no one is on the run, per say, but the characters were happy to get away from their home. … There’s a palpable edge in all westerns, born of reckless times, that could feature in Bound as the city around the characters undergoes a transformation. But just like the old westerns, that “edge” would play more tongue-in-cheek.
A clean example for Bound is The Magnificent Seven, in which a group of gunslingers are brought in to protect a town. The characters in Bound certainly aren’t saviors, but, there is that “posse” element in a group of outsiders arriving someplace (with vistas!) and having an affect on it - for better or for worse.
6 THE VISUALS
Pictured: Blue Hawaii, by Norman Taurog. To be clear, Bound is set in the present day; consider the 2025 version of the image above.
How Bound could “LOOK.”
— What’s the decor? How are physical settings presented? Answer: Like the “Elvis Goes Places” sub-genre of the early ‘60s. Presley starred in about 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.
Bound also aspires to create 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 try to promote colors and nature and to have a bit of a strut. We’ll achieve that through custom builds and/or finding real locations that hold those attributes.
… Another quality that separates the Elvis movies from other cool, location movies of the time period (like Contempt or L’Avventura) is that they’re so kitschy but in the best ways. For example, the sets in Fun in Acapulco or Blue Hawaii are “chic” on one hand and like a Margaritaville on the other. Either way, you like to be up in there.
Pictured: North by Northwest, by Alfred Hitcock — A pop/art vehicle, with real-ass movie stars holding the frame down.
How Bound could “MOVE.”
— What’s the general filming style? How does the camera go? If you’re into movie history this is going to be, like, so basic but the answer is in Alfred Hitchcock’s canon. Here’s the main reason: Movie stars were never more movie-starrin’ than when they were in a Hitchcock movie. Why? Because Alfie was a freak, often obsessive over his stars, and so, he glorified them in the frame (even if he did not behind it).
In Bound, it’s got to be all about the people, meaning both the main and supporting characters. Expect a good dose of faces in close frames plus wider views that follow or linger just a little longer on the characters. By consequence, that gaze, in more withdrawn views, will also help highlight the settings.
… Another great thing about Hitchcock films is that they’re more methodical first, with moments of mania second. It’s a consequence of the time, sure; cameras couldn’t swing like they can today. But still, I love the way he steadily tilts or pans and blocks in a scene before dropping a dramatic zoom or cut. It’s a like boxer jabbing, jabbing, jabbing - boom - then throwing a blow. Bound, too, will present more standard (or “classical”) at first, but still take its share of swings.
— Another cool thing about that pocket of time in movies and TV is that directors were becoming more empowered, stylistically. And so, films and series, like The Twilight Zone, for example, started to become more and more “unconventional” but still within the sandbox of traditional pictures. The results are projects that are both old and new wave at once. … It’s a nice ideal for Bound, as we want to seek new things in filmmaking and distribution but still pay homage to past loves.
7 THE SOUNDS
Pictured: L’Homme de Rio, Philippe de Broca. — In the movie, a French couple winds up in Brasil, forcing trials in Portuguese.
How Bound could “HEAR.”
— The final location (and thus story setting) will inform the “atmosphere” sounds of the series, meaning the sounds of life in the background like the surrounding nature, the city streets, on down to what’s being cooked in a kitchen in that particular place. Also, it will inform the language spoken by the supporting, local characters, which should differ from the English spoken by the stranded passengers.
Speaking of English, it may be a secondary language to some of the main characters, allowing for moments of banter, hi-jinks and sometimes danger due to their various interpretations on the language. What’s more, with a (likely) multi-lingual cast, we can have occasions in which the characters perform in their native tongues.
How Bound could “ROCK.”
— How’s the musical score? What kind of songs are used? The primary theme and musical 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 Caribbean, and so, a lot of the current writing playlist features music with Afro and Latin roots.
In addition to that theme, we hope to be able to feature other, great music in Bound. If I had it my way, the whole damn series would open with a set piece featuring the song People Get Ready. A good picture’s got to have some soul, you know? It comes from writing and acting, sure, but also, you could just cheat and bring in Aretha Franklin to go off and make ya face scrunch and ya knees buckle.
Click the link to a 4-pack of songs that got heavy rotation on the writing playlist and set a standard for the series. SO FAR SOUNDS.
8 THE DELIVERY
How would the series be delivered?
— Allow us to jump the gun here and to dream a little. We’d be happy as hell to air anywhere but in a perfect world So Far Bound would stream for free on its new, home platform, called TAR, as well as on public spaces like YouTube at the start. … Episodes would distribute weekly, or twice a week, at set times. The goal would be for any 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 that we consider the totality of a project. 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 platform (TAR) that can act as an engine for Bound (and other projects) and also, if needed, serve as a viewing home for projects.
* “TAR” is named for my (Evan) hometown of Rocky Mount, North Carolina, which is divided by the Tar River.
9 THE history
(As told by Evan, the writer of the show’s first episodes).
The shape of the series.
— The general shape of So Far Bound was inspired by time spent traveling abroad in my early 20s. There were the short-term trips, with nights in hostels, where a few of us strangers would become quick friends and have a little adventure. But, I also had the opportunity to spend extended time in Rio de Janeiro, Brasil, and in Granada, Spain, which offered insight into what it might be like to “re-settle” in a different kind of world (I’m from the Southern US, by the way). At the time I was traveling, I wasn’t thinking on those terms, but later, when I got into movies and then writing, those travel experiences were all there to consider and to build from.
The pieces of the story.
— The earliest version of Bound was more focused on an individual (a “lead role”) who drove the story, before morphing into the ensemble story it is today. The reason for the shift is a long held interest in geography and social sciences. As a kid, I remember wearing the hell out of a world atlas workbook my mother got me. And in college, I regret not being a Geography or Anthropology major. I went with a broader, “safer” option in Journalism instead.
Then at some point, somewhere along the way, I started to think about Bound - because of the travel aspect - as a vehicle for those fields and as an opportunity to dive into them. It could be a second chance! God knows we don’t always get ‘em, but, by building up more characters, from different cultures, who are trying to make life in a dynamic and now more heavily featured setting, I’ll get to “major” in those human and environmental geography fields after all.
Pictured: Travels in Spain and Brasil.
0 THE OUTLOOK
* Until there can be video, please consider this illustration of a scene, below, currently in Episode 02 of the series. It finds a couple of the passengers enjoying a night - over there - in the city they’re stranded in while local residents watch.
— On our end, we’re going to work to bring such scenes to life and to make something fun and with a few ideas. We’re going to use our grassroots, independent stature as a power to try (and to be) new things. With that attitude and opportunity in tow, it’s our belief that So Far Bound can become something that both stands up and then out in the vast television (and Tik Tok) landscape. *