The Rendezvous, television series pitch

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Television series pitches
Television series pitches
My first television series pitch
Key Jangling, TV pitch
Maple Fringe Majority, TV pitch
PlugNPlay Productions: TV pitch
The Rendezvous, TV pitch
+ Episode loglines
Truth In Topics, TV pitch


Anitque National television.
The Rendezvous Tavern with strategically designed look-out windows.
The Rendezvous Bar was wired into four other roadhouses with warning buzzers to alert them of impending police raids.
The Edgewater Thomas Inn was a high-class blind-pig in Riverside with secret passageways and hidden wine cellars.
Bertha Thomas was the eccentric roadhouse pioneer who ran the Edgewater Thomas Inn.

Based on The Rendezvous, screenplay, an unpublished feature script by Jason Carswell.

A logline (aka elevator pitch) is a one or two line plot summary:

Respecting life, sacrifice, and a diamond treasure, The Rendezvous, a dramatic television series, centers around a fictional Black family's circumstances and drama across three generations working at a local historical roadhouse through three Windsor-Detroit intense events - rum-running of the 1920s, war-time riots of 1943, and the "peace"-time riots of 1967 in "Motown". Without being preachy or pedantic, issues like prejudice, domestic abuse, organized crime, fairness and ethics, personal autonomy, musical trends, and motor vehicles are fairly addressed and dramatized in evolving morals and culture across the decades.

First pitch

See also: Television series pitches, My first television series pitch, Maple Fringe Majority, television series pitch, and Truth In Topics, television series pitch.

In the face-to-face with John Buffone, he seemed eager to see outlines for two of my many ideas - thus, here it begins.

We didn't discuss it, but it seems like it might be practical and possible to produce the Maple Fringe Majority, while continuing to develop the much more ambitious The Rendezvous project in the background. Experience may be learned and earned, and hopefully we can prove that a Windsor production team is capable of a larger production.

Pitched

Title

The name "The Rendezvous" holds several layers of meaning:

Branding

in development: Branding
coming soon: Logo designs
coming soon: Poster designs
coming soon: Animated titles
coming soon: Animated credits

The Rendezvous will need a strong logo, series/movie posters, titles, credits, and marketing. I could go on at length, but will keep this short, and when the time comes, it may speak for itself.

Episodes

Outlines, synopses, and/or treatments may be drafted for each episode.

At present (March 2023) Jason Carswell is exceptionally hesitant to share anything more about his screenplay story, The Rendezvous. Furthermore, the original screenplay not only requires another draft, but demands an overhaul suitable for a television series format.

Episode rundown

Each episode should, more or less, follow this rundown format to include:

  1. opening hook, dramatic clip or profound idea from within
  2. opening credits (by animator Jason Carswell)
  3. stuff
  4. stuff
  5. stuff
  6. cliffhanger
  7. closing credits
  8. sponsors, if applicable
  9. Easter egg ending

Episode titles

The title is followed by the year(s) it takes place in.

  1. Sinking (1922)
  2. Inciting (1943)
  3. Grinding (1967)
  4. Conflicting (1922, 1943, 1967)
    A) Arguing (1922)
    B) Dishing (1943)
    C) Denying (1967)
  5. Warning (1922)
  6. Tensing (1943)
  7. Frustrating (1967)
  8. Drinking (1922, 1943, 1967)
    A) Misbehaving (1922)
    B) Heartbreaking (1943)
    C) Singing (1967)
  9. Thriving (optional 1800s bonus episode)
  10. Tanking (1967)
  11. Lamenting (1943)
  12. Rendezvousing (1922)
  13. Generating (1922, 1943, 1967)
    A) Healing (1922)
    B) Enriching (1943)
    C) Shining (1967)

Episode loglines

see full list: Episode loglines

The episode loglines or episode outlines combined together may be considered an overarching series treatment - and/or an alternative 2024 treatment for The Rendezvous, screenplay.

Episode treatments

see full list (in development): Episode treatments

Each episode will have its own treatment.

Jason Carswell is not comfortable sharing more with TV1 (or anyone) without nailing down further development assurances, budgets, schedules, etc.

Episode scripts

see full list (coming soon): Episode scripts

Each episode will have its own script.

Episodes should aim to average about 10 minutes each, but will be written longer to be shot and then tightened up in editing to select the best elements, moments, and storylines to focus on.

Jason Carswell is not comfortable sharing more with TV1 (or anyone) without nailing down further development assurances, budgets, schedules, etc.

Series production

Budget

Evolving.

An accurate, reasonable budget and schedule will require consulting with experienced professionals.

First timer

These initial concepts will be revised and evolve. Despite the lack of series production experience, with robust professional experience in animation, live-action art direction, and event production, a first effort presented here begins the organizing, development, and production process.

Format and reasons

Plots weave, themes echo, and history rhymes as three eras decades apart wear across characters' faces, fashions, and settings. The optimal presentation of three timelines building up to and culminating in a spectacular grand mystery finale requires finessing. For the most part, cutting between scenes from different eras within most episodes can work, with one episode dedicated to each era to mix it up.

For reference, the movie Pulp Fiction is notable for the nonlinear storytelling, and the Game of Thrones TV series is notable for jumping across vast regions to combine plots and culminate towards a central resolution (for better or worse execution).

At present, 12 or 13 episodes of about 10 minutes each (plus credits), would add up to 120 to 130 minutes - like a movie, but not.

Production design

see full list (coming soon): Production design

The production design will develop and evolve through historical documentation, photographic references, sketches, storyboards, etc. - all to help weave a rich tapestry of atmosphere, character arcs, drama, emotions, and plots into a cohesive sum greater than the parts.

Resources

Jason Carswell can confidently wear many hats (producer, creative director, screenwriter, production manager, storyboarder, editor, animation director, animation supervisor, animator, graphic designer, art director, etc.), alone, but would prefer to lead a small tight capable team, recognizing his limitations and inexperience as live-action director, camera operator, sound recorder, sound engineer, interviewer, performer, music composer, with vanities (hair, makeup, wardrobe), etc.

On The Rendezvous, Jason is interested in writing, storyboarding, producing, casting, production management, creative direction, art direction, editing, post-production, etc., but is not interested in performance-related jobs like live-action directing, acting, etc. and would leave that to those with more expertise in hopes of better results.

Resources to verify:

☐ TV1 budget covers art department expenses (costuming, props, sets, etc.)
☐ TV1 lends all camera, lighting, and audio gear
☐ TV1 budget covers cast (actors)
☐ TV1 budget covers crew (camera men, sound, vanities, etc)
☐ TV1 budget covers post-production workstations (editing, animation, etc)
☐ TV1 budget covers editors, music, sound engineering, post-production
☐ TV1 budget covers promotional website?, design?, social media?

Resources to request:

☐ compensation sufficient for professional filmmaker and showrunner Jason Carswell
☐ for development and pre-production (treatments, screenwriting, production management, producing, etc.)
☐ for production, producing, and creative direction
☐ for post-production (editing, animation, promotion, social media, etc.)

Schedule

An accurate, reasonable budget and schedule will require consulting with experienced professionals.

Something of a routine, format, and expected results can develop with a capable production team, and showrunner Jason Carswell would learn and gain experience producing his Maple Fringe Majority, television series pitch Key Jangling, television series pitch - and ideally he'd eventually be able to simultaneously further develop his The Rendezvous television series pitch in the background of that production.

Full disclosure

This page and these projects may seem overly obvious, self explanatory, excessively linked, etc. Not only are these pages for TV1 producers, but they're illustrative of projects that anyone may create on Projex.Wiki, and might develop into suitable teaching tools for the Windsor Media Center and beyond.

Transparency

Showrunner, Jason Carswell, is an intensely passionate advocate for FOEPATCHISM inclusive ethical social and project management. (Fair, Open, Ethical, Peaceful, Accountable, Transparent, Consistent, Honest, Inclusive, Social, Management) This includes actively promoting the open-source movement, crowd-sourcing, decentralizing all things, copyleft activism, self-reliance, sustainability, agorism, voluntaryism, etc. Therefore, it would be hypocritical to not try to develop this series openly and inclusively*, on Projex.Wiki and/or via other communications. This would include budgets, planning, schedules, and of course the final product. Open book policy.

* Inclusively means anyone is not just passively allowed but encouraged to join and openly participate constructively (rather than the woke meaning of racist forced diversity). Aside from negative activity (which may require clear definitions) we won't discriminate for any reasons, though we may be forced to use closed/private communications.

Ideally, after the series has met its contractual obligations with TV1, the episodes, raw video utilized, and additional unused recordings might be shared copyright-free, made freely available for sharing, researching, archiving, and for anyone (ie. Windsor Media Center and Internet students) to edit with as they see fit. Hopefully folks might be inspired to create fan edits, feature films, or documentaries with supplemental content.

See also

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