Thursday, March 15, 2018

Sunday, March 11, 2018

Bound to Secrecy

Like all other aspects of , the entire UNBOUND project was shrouded in secrecy.

I was first brought in to listen to the record and discuss a potential release plan in the summer of 2015. As with the musicians and everyone else who worked on the album itself, I signed a non-disclosure agreement before hearing the music or getting any meaningful details.
I subsequently attended a meeting of various marketing, publicity, and business people to brainstorm ideas and propose concepts. It is where I first raised the notion of the Instagram miniseries. Shortly after that meeting I received word that a treatment should be drafted.

UNBOUND was a small production. But perhaps deceptively so...We had a writer. Producers. Director. Camera people. Production assistants. Make up artists. Stunt people. Editors. Sound and visual effects artists. Actors. A dance troupe. LOTS of extras. We filmed on public streets. In bars. In a cemetery. And a burlesque hall. A lot of people were sworn to a lot of secrecy, memorialized through the signing of a binder-full of non-disclosure agreements.

Have a look at Episode Seven. The drummer and dancers never heard the whole song they were performing to. We created a 20-song drum loop sample that they rehearsed and played to. They had no idea what project they were working on.

Now have a look at Episode Nine. None of the people in that street scene knew what artist they were working on a project for. The video below illustrates how we taught them the pace to march at.


Security was tight on-set as well. We ran closed sets, which meant only people working on the project could be on-site. No friends, family, etc (the lone exception being the day we shot our young boy flying but fear not, his parents signed NDAs, too).

No one was allowed to text, email or make phone calls from set. No personal photos, video or social media posts. In fact, we collected all mobile phones at the start of each day.


But don't leave with the impression that it was all serious business. We had lots of fun. Like this time our writer Carolynn Cecilia Rick-rolled an entire room full of cast and crew... 

Thursday, March 8, 2018

Sunday, March 4, 2018

In is out and light is dark

The image to the left is a section of the page in the UNBOUND treatment dealing with Episodes Five and Six (which are set to Lazarus). The image below is the page from the script for these same installments (both images can be clicked for enlargement).

From the very start, the treatment was specific about where these were to be set: a "long hallway" which the script further detailed as a "long, dark hallway" and, specifically, an interior shot.

As it turned out - through the wonder of Movie Magic - our interior, long, dark hallway wound up being shot outside, in broad daylight, in a courtyard/patio area adjacent to the room where we shot the so-called "Library Scenes" that open and close the series.

These two episodes were shot at the same location and on the same day as Episodes One, Two, Fifteen and Sixteen, at Union Hall in Brooklyn, NY. These were all captured on what was our fourth day of filming.



Thursday, March 1, 2018

Preparing for Liftoff



Episode Four was the second installment of the "Tis a Pity She Was a Whore" segment of UNBOUND. The episode ran fourth but was actually captured on the first day of shooting. It was one of the more complex shots due to our use of a green screen studio and a first-time actor...This is a compilation of raw b-roll footage shot that day. We also have some lovely stills from the set as well.


Wednesday, February 28, 2018

Out of The Room

Episode Three took us out of The Room and into an alleyway to the strains of "'Tis a Pity She Was a Whore" - and one of the few times we came anywhere near a literal matching of lyrics and imagery. With lines like the ones we had to play with, though, how could we resist in this case?

And, of course, Episode Three ends somewhere completely different than where it begins...

You can have a look at some video showing how we prepared our Man to get hit by a woman who punches like a dude. When you're done, check out the treatment and ultimate script pages that formed this installment in the viewer below.



Monday, February 26, 2018

Sunday, February 25, 2018

The Making of UNBOUND: A★INSTAMINISERIES

preparing to shoot our opening and closing episodes on location at Union Hall, Brooklyn, NY, Fall 2015

It has been two years since UNBOUND first premiered to quite a bit of fan and press interest. Since then, the episodes have been viewed tens - if not hundreds - of thousands of times across various platforms like YouTube, Vimeo, at South by Southwest, and, of course, on Instagram, where it had it's initial run.

Like the music that inspired UNBOUND, the series always raised more questions than it answered and as filmmakers we sought to let those questions linger - and our audience really seemed to prefer it that way as well.

That said, I (and I assume we all) still receive a lot of questions from people about how it all came together, what it was like working on such an interesting project for such an important release, etc. With the passage of time it is now a bit easier for me (and even fun) to pull back the curtain a little bit to reveal some of the creative process, which I will be doing here over the coming weeks. No spoilers, no explanations of the work, but some ephemera and insight into the development of UNBOUND. This will take the form of pages from the treatment and script, photos, notes and other recollections. The first installment will be tomorrow, February 26, at 8PM ET.

Check back throughout the coming month or so and please send along your thoughts and comments. One of the highlights of this project was the interaction and dialogue with the audience and I hope that continues.

Thanks and enjoy,

Lawrence Peryer
Producer, UNBOUND: A★INSTAMINISERIES