High Five, Action! Bible
Bible Table of Contents
- Introduction
- Themes & Project Tones
- Settings
- Episode Tone & Structure
- Over-Arching Themes
- Key Characters
- Character Arcs
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Introduction
Introduction: Standalone Episodes
A standalone episode is an episode of a series that contains a plot that begins and ends within its runtime. Standalone episodes don’t strictly adhere to the overall continuity of the show. They are often set within worlds that only fans are familiar with, but their storylines are independent enough to be enjoyed by everyone. Standalone episodes are perfect introductions for new viewers to understand the core concepts of a show. They can be enjoyed without necessarily having seen the ones before or after it.
Although some references may be made of previous chapters, the episodes of this series are standalone.
—
In this series, each episode is a self-contained story that unfolds within its own runtime. These standalone episodes do not strictly adhere to the overarching continuity of the show. While they are often set within the intricate worlds that dedicated fans are familiar with, their storylines are designed to be engaging and enjoyable for both newcomers and long-time viewers. Standalone episodes serve as perfect entry points for new viewers, allowing them to grasp the core concepts of the show without the need to watch episodes in any particular order.
While occasional references may be made to events from previous episodes, it’s important to note that each installment of this series can be enjoyed independently.
Themes & Project Tones
A standalone episode is an episode of a series that contains a plot that begins and ends within its runtime. Standalone episodes don’t strictly adhere to the overall continuity of the show. They are often set within worlds that only fans are familiar with, but their storylines are independent enough to be enjoyed by everyone. Standalone episodes are perfect introductions for new viewers to understand the core concepts of a show. They can be enjoyed without necessarily having seen the ones before or after it.
Although some references may be made of previous chapters, the episodes of this series are standalone.
—
In this series, each episode is a self-contained story that unfolds within its own runtime. These standalone episodes do not strictly adhere to the overarching continuity of the show. While they are often set within the intricate worlds that dedicated fans are familiar with, their storylines are designed to be engaging and enjoyable for both newcomers and long-time viewers. Standalone episodes serve as perfect entry points for new viewers, allowing them to grasp the core concepts of the show without the need to watch episodes in any particular order.
While occasional references may be made to events from previous episodes, it’s important to note that each installment of this series can be enjoyed independently.
Overarching Theme
- The director Aaron is, although a brilliant visionary and creative, unassertive and a pushover, thus manipulated by the rest of the crew. The producer Jarrett is usually the ringleader in corrupting him.
- They are all serious about succeeding with a grand production but are never successful with making any headway in their career.
- Their productions will sometimes mimic stereotypes from productions of the same genre as their own. For example, when the crew makes a Pirates movie, the crew is unhappy with Aaron’s direction and mutinies against him.
Episode Tone & Structure
- Fast-paced, energetic, on-the-move, packed with comedy, and adventurous as each episode is a new setting for their latest project.
- For the most part, things return to normal at the end of each episode. There is a new project idea or inciting incident that sets them into production. They often have different ideas as to how the production should go and split into different factions which become their own small narratives. Then through chaos and humiliation, they are returned to the same point again by the end of the episode – another failed production with nothing to show. Every chance they get to change their careers for the better is inevitably thrown away.
- Like “Family Guy”, and “New Girl”, episodes are interjected with cutaways relevant to the topic of discussion at the time, or as an example to the joke told, often revealing a previous project they worked on not feature in previous episodes.
Series Story Progression
- They will start in their final years of college, studying filmmaking. This sets up the premise of having access to nearly unlimited production assets and personnel on a consistently limited budget.
- Upon graduating college, they will maintain their connections with the school and other student networks to retain access to these assets.
Settings
Temporal Setting
- Our universe
- Modern / present day (of the production).
- Some real-life elements may be changed to avoid association with negative connotations. For example, the Mayor of the city would be a fictional character in the show instead of portraying the real-life Mayor of the city.
Environmental Setting
- Savannah, GA,
- College/art college campus and lifestyles
- Art & entertainment industry workplaces, culture & lifestyles.
Individual Setting
- Indie film sets, interior and exterior locations varying from studios, city streets, parks, beaches, homes, etc.,
- Staging and backlot areas such as lunch tents, crew parking lots, equipment staging areas, etc.
- Other production relevant locations such as props & costumes shops, equipment rental cages, etc.
- The character’s home or side job place of employment.
- Coffee shops, art galleries, bars.
- College class rooms, art studios, computer or media production labs.
Key Characters
Primary Characters
- Aaron McDermitt: The crew’s writer & director. Creative visionary, humble, genius, in the art for art’s sake. He is not assertive and often loses control of his crew.
- Griff Eldenwald: The crew’s Grip, Gaffer & Sfx coordinator. Oddball, conspiracy theorist, oblivious to social norms, gullible and a wild card.
- Floyd Rhodes: The crew’s sound operator. Carefree, stoner, lazy.
- Mikayla Frampton: The crew’s cinematographer/ camera operator. The voice of reason at times, though short tempered and a hypocrite.
- Jarrett Michaels: The crew’s producer. Two-faced, fast talking, charming asshole. Loud and outgoing, the opposite of Aaron – their views often conflict. A cheat, liar, and in the art for the fortune and fame.
Secondary, Recurring Characters
- Steve Pannerman: The crew’s go-to actor. He’s a method actor, and thus, his personality changes each episode, in accordance with the production at hand. His true, recurring personality is never seen by the crew – the only constant is his dedication to the craft.
- Jessi Pifer: The crew’s go to art director & makeup artist. She has high anxiety over continuity issues.
- Esteban Urrea: The crew’s go-to teamster. Lazy, stoner, slow worker – would rather flirt on the job, though he’s also a misogynist.
- Davey Tenspee: The crew’s go-to production assistant. New to production – high energy and excited to be on set, though he generally screws something up with his lack of experience.
- Ivan Cobos: The crew’s go-to casting director. A foreigner who doesn’t understand english very well – thus he often gets character descriptions wrong when casting.
- Drew Anderson: Another go-to actor. A diva – the crew hates working with him.
- Leonardo Thaddeus Caesar III: Aaron’s rival director and arch nemesis in the filmmaking world.
- Ashley Upton: The crew’s go-to female lead-actor. Very attractive, Aaron is blind with love for her, but she treats him terribly and is a diva – the rest of the crew hate her.
- Ralph Hamilton: The crew’s go-to armorer and fight choreographer. A war vet, steroid using, gung-ho, loud mouth – always excited and slightly angry. He tends to scare the crew.
- Dan Nodzak: The crew’s go-to stuntman. An old man, feeble looking and fragile – somehow he always manages to come out of his stunts unscathed but tends to cause the crew to worry.
- Martin Robertson: The crew’s go-to set medic. An extremely under-qualified medic – he gets squeamish at the sight of blood and often has terrible remedies that make situations worse.
- Dylan Levitt: The crew’s go-to post-production vfx & editor. He never sees the light of day, always working on his computer. A pale, socially awkward oddball who often keeps to himself.
- Magnus Nelson: Floyd and the crew’s go to boom pole operator. He’s a giant, lazy stoner who doesn’t actually like holding the boom pole and tries to find ways out of it.
Snippets of dialogue
Character Arcs & Relationships
Primary Characters
- Aaron McDermitt: The crew’s writer & director. Creative visionary, humble, genius, in the art for art’s sake. He is not assertive and often loses control of his crew.
- Griff Eldenwald: The crew’s Grip, Gaffer & Sfx coordinator. Oddball, conspiracy theorist, oblivious to social norms, gullible and a wild card.
- Floyd Rhodes: The crew’s sound operator. Carefree, stoner, lazy.
- Mikayla Frampton: The crew’s cinematographer/ camera operator. The voice of reason at times, though short tempered and a hypocrite.
- Jarrett Michaels: The crew’s producer. Two-faced, fast talking, charming asshole. Loud and outgoing, the opposite of Aaron – their views often conflict. A cheat, liar, and in the art for the fortune and fame.
Secondary, Recurring Characters
- Steve Pannerman: The crew’s go-to actor. He’s a method actor, and thus, his personality changes each episode, in accordance with the production at hand. His true, recurring personality is never seen by the crew – the only constant is his dedication to the craft.
- Jessi Pifer: The crew’s go to art director & makeup artist. She has high anxiety over continuity issues.
- Esteban Urrea: The crew’s go-to teamster. Lazy, stoner, slow worker – would rather flirt on the job, though he’s also a misogynist.
- Davey Tenspee: The crew’s go-to production assistant. New to production – high energy and excited to be on set, though he generally screws something up with his lack of experience.
- Ivan Cobos: The crew’s go-to casting director. A foreigner who doesn’t understand english very well – thus he often gets character descriptions wrong when casting.
- Drew Anderson: Another go-to actor. A diva – the crew hates working with him.
- Leonardo Thaddeus Caesar III: Aaron’s rival director and arch nemesis in the filmmaking world.
- Ashley Upton: The crew’s go-to female lead-actor. Very attractive, Aaron is blind with love for her, but she treats him terribly and is a diva – the rest of the crew hate her.
- Ralph Hamilton: The crew’s go-to armorer and fight choreographer. A war vet, steroid using, gung-ho, loud mouth – always excited and slightly angry. He tends to scare the crew.
- Dan Nodzak: The crew’s go-to stuntman. An old man, feeble looking and fragile – somehow he always manages to come out of his stunts unscathed but tends to cause the crew to worry.
- Martin Robertson: The crew’s go-to set medic. An extremely under-qualified medic – he gets squeamish at the sight of blood and often has terrible remedies that make situations worse.
- Dylan Levitt: The crew’s go-to post-production vfx & editor. He never sees the light of day, always working on his computer. A pale, socially awkward oddball who often keeps to himself.
- Magnus Nelson: Floyd and the crew’s go to boom pole operator. He’s a giant, lazy stoner who doesn’t actually like holding the boom pole and tries to find ways out of it.