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Republican National Convention: 1984 Convention (5)
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Republican National Convention: 1984 Convention (5)
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Ronald Reagan Presidential Library
Digital Library Collections
This is a PDF of a folder from our textual collections.
Collection: Deaver, Michael: Files
Folder Title: Republican National Convention:
1984 Convention (5)
Box: 67
To see more digitized collections
visit: https://reaganlibrary.gov/archives/digital-library
To see all Ronald Reagan Presidential Library inventories visit:
https://reaganlibrary.gov/document-collection
Contact a reference archivist at: [email protected]
Citation Guidelines: https://reaganlibrary.gov/citing
National Archives Catalogue: https://catalog.archives.gov/
PROPOSAL
TO
REPUBLICAN NATIONAL COMMITTEE
FOR
"THE REAGAN RETROSPECTIVE"
a multi-image presentation
November 22, 1982
INTRODUCTION
Image Stream is pleased to have the opportunity to present a
proposal for the design and production of a major multi-image
presentation documenting the first term of President Ronald
Reagan. As contemplated, the presentation will premiere at the
Republican National Convention in 1984.
Producing a presentation of this type is a complex undertaking.
This proposal is intended to provide the reader with background
about the process, and to identify the elements that will require
discussion. It was developed after extensive input from Michael
Evans of the White House staff. The areas covered are:
I. CREATIVE CONSIDERATIONS
II. PRESENTATION OPTIONS
III. PRODUCTION PATH AND APPROVAL POINTS
IV. SCHEDULE
V. BUDGET
I. CREATIVE CONSIDERATIONS
Multi-image blends script, soundtrack, and photographs into a
large scale, high impact presentation format. And while it is
clear that the photographs will be of the Presidents first term,
there are a great many possibilities for the script and
soundtrack, which will affect the selection of the images, and
the audiences reaction to them.
The script will form the backbone of the presentation. It
provides the story line, and sets the tone and the emphasis for
all that follows. Is it strictly chronological? Which events
does it emphasize, which does it ignore? Is it a personal
statement of philosophy and goals, or a recitation of fact? Does
it use historical actualities, that is the sounds and voices of
the times, or is it only a narration? Does the President speak?
The answers to these questions will come from two places. First,
an analysis of the goals and objectives of the presentation and
the audience. Is this a tribute or a platform statement? From
our perspective, this seems to be an important point to resolve.
Careful attention must be given to these questions before a
writer can start work.
The writer should be selected to help reflect these goals and
objectives. The writer might be a political columnist if the
intention is to put the events of the last four years in some
perspective. The writer might be a speechwriter who has served
the President, and is familiar with the points he wishes to
stress. Or it could be one of several professional writers we
work with regularly.
The script will run 500 to 750 words. The writer will work with
our producer, to ensure that the script works well in an audio-
visual context. Typically, most of the shows we produce run 10
minutes or less. From a practical point of view, the
presentation should not exceed 15 minutes. While this may seem
short, one of the characteristics of multi-image is its ability
to compress time. While multi-image is poorly suited to the
presentation of real time events, (e.g. someone talking), it is a
superb vehicle for montage and kinestasis.
All parties who will approve the show, should be involved in
defining its goals and objectives, and in giving input to the
writer and producer. This is a crucial stage, because it lays
the foundation for all that will follow.
The soundtrack carries the emotional content of the show. The
narrator could be a movie actor whose voice is identifiable. We
do not recommend the on camera testimonial approach in this
medium, simply a strong voice, The President himself could
narrate the show; or "speak" through quotes selected from
speeches, interviews and press conferences, in conjunction with a
professional narrator.
The musical score also offers the opportunity to use a name
talent. The composer selected will write the score to fit the
narration. He will interpret the script, adding emphasis and
punctuation. It is important to note that while in film, the
music is scored to fit the picture, in multi-image the pictures
are designed to follow the music.
Both the recording of the narration, and the production of the
soundtrack, will be done under our creative and technical
supervision.
The selection of photographs will be from the White House files.
Additional photographs required by the script can be gathered
from the usual news sources. Our designer will review the White
House files in detail, and order duplicates of selected images
for inclusion in the show. An initial inspection of the files is
planned for early 1983. It will also be desirable to shoot some
photographs specifically for the presentation.
II. PRESENTATION CONSIDERATIONS
One of the advantages of the slide medium is that a screen format
can be designed to meet the space requirements of any
presentation environment. While this may seem to be a technical
consideration, some thought should be given to the use of the
show after the Convention. If the presentation will only be used
at the Convention, it can be optimized to fit the requirements of
that stage. However, our experience suggests that the demand for
a presentation of this type at local fundraisers will be very
high. Our planning is for a reusable format that can easily fit
in a variety of ballrooms and theaters.
Current discussions center around two widescreen formats, the two
screen or three screen overlap formats, using 18 to 20 slide
projectors. Typical dimensions of a two screen format using
normal Ektagraphic slide projectors are 8'x24' or 10'x30'. A
three screen format can be used at 6'x27', 8'x36', or 10'x45'.
Using special high intensity slide projectors, the 3 screen
format could be projected to 20'x90'. This grand scale is
spectacular, and well suited to the pageantry of the National
Convention.
Consideration should also be given to the production of the same
presentation in two single screen formats. One, utilizing 9 or
12 projectors would be designed specifically for transfer to
videotape. This program could be fed to the networks during the
actual presentation at the Convention. In addition, videotape
copies can be distributed as gifts, and for use at small local
events. The second format would use 3 slide projectors and a
simple dissolve unit. This type of system is well suited to
small audiences that wish a fund raiser, but that cannot justify
the cost of staging the widescreen show. These presentations
would utilize the same soundtrack as the big show, and many of
the same photos.
The combination of the three show formats would meet almost any
conceivable presentation requirement encountered during the
campaign. It is our expectation that the demand on a local level
for a program of this type will be high. It is our recommendation
that this demand be planned for well in advance.
III. PRODUCTION PATH AND APPROVAL POINTS
A brief discussion of the production process is included to help
the reader better understand the project. If the reader is
already familiar with print or film production, he will find the
following to be familiar territory.
The production process begins with the identification of
objectives, audience and applications. To do this, the working
committee responsible for the show must be established. It is
highly desirable to have everyone with any control of the project
involved on the committee from the outset.
If a writer has not been selected, he will now be selected.
Meetings should be scheduled with members of the committee, to
provide him with input about the goals of the presentation. With
this input, he will then prepare a treatment. This is a one page
outline, which describes the proposed creative approach to the
project. This will be reviewed, and the writer will incorporate
the feedback into a rough draft. The script is again massaged,
and final changes are incorporated.
A narrator for the presentation is then selected.
Representatives of the committee may wish to attend the narration
session. The narration is then turned over to the composer, who
will write and arrange a score to the narration.
The next step is to record the composition. This generally takes
place over several days. At the end of this process, the voice
and musical elements are combined in a final mix. The finished
soundtrack is then presented for approval.
Meanwhile, the visual side of the team has also been busy.
Working from the script, the designer will be selecting materials
from the files. It is anticipated that we will pull four or five
thousand photographs to select the eight hundred to one thousand
images that will actually be used in the show.
Working with the soundtrack, the designer will layout the show in
much the same way a magazine is laid out. The materials then go
to camera where they are duplicated to the final format
requirements. The finished slides are then ready for
programming. Using a computer to control the slide projectors,
the visuals are synchronized to the soundtrack, in a process is
very similar to videotape editing.
The designer also works with the art director to develop the
graphic elements of the show. This includes the main title
sequence, and other transitional devices to support the story
line.
When the show is assembled, a committee review is scheduled. Any
content errors are rectified, and picture selections are
evaluated and changed as necessary. When these changes are
incorporated, the show is ready for a final approval screening
prior to its premiere.
IV. SCHEDULE
While it is impossible to finalize at this early date, a
preliminary schedule is presented. Several scheduling variables
have already been identified. First, are the turnaround time
requirements for the White House Photo Lab. Second, is the amount
of time that will be required for script approval.
It is our assumption that no significant scripting can take place
until the President has made his decision to run, or not run, for
office in 1984. Once this decision is made, and certain basic
decisions about goals and objectives are made, a writer should be
selected, briefed, and set to work on the treatment. Based on
this treatment, photo selection and reproduction can then begin.
In broad strokes, the following schedule is proposed:
1983
*
Identify audience, objectives, and presentation
requirements.
*
Preliminary review of White House photo files
*
Select writer, composer and narrator.
*
Identify staging requirements for the National
Convention.
1984
JANUARY:
*
Write treatment
*
Begin photo selection and reproduction
FEBRUARY:
*
Rough draft submitted
MARCH:
*
Rough draft approved
*
Final draft prepared and submitted
*
Record narration
*
Begin scoring
APRIL:
* Scoring completed
*
Soundtrack recorded and mixed
* Begin design
MAY:
* Design completed
*
Picture selection approved
* Begin production
JUNE:
*
Complete production
*
Begin and complete programming
*
Rough cut screening
JULY:
*
Final approval screening
*
Production of other formats as required
*
Production of duplicate sets as required
*
Premiere in Washington D.C.
AUGUST:
* Load in to Dallas
*
Rehearse presentation
*
Add slides shot on site if appropriate
*
Run presentation
*
Begin show distribution as planned
IV. BUDGET
This is a preliminary budget estimate. The writers fee, and the
audio production budget will vary depending upon the individuals
selected. In both cases, we have quoted budgets for top flight
talent, without going to extremes.
CREATIVE SERVICES:
Producer
$20,000
Designer
20,000
Writer
10,000
AUDIO PRODUCTION:
Producer
5,000
Narrator
2,000
Production
35,000
includes composer/arranger,
musicians, studio sessions
PHOTO RESEARCH:
Researcher
12,000
Stock photo allowance
5,000
White House duplication
5,000
ART:
Art Director
5,000
Production
5,000
TECHNICAL PHOTOGRAPHY:
120 hours at $75
10,000
Film, processing, mounting
7,500
PROGRAMMING:
6 days system and operator
9,000
SOFTWARE PRODUCTION TOTAL:
$150,500
In addition to the main show, we are quoting estimates for
production of duplicate sets, and the two single screen versions
suggested under the heading of Presentation Considerations. The
prices for the single screen shows reflect the costs of doing new
artwork, design, camerawork, and programming. The assumption is
that the same script and soundtrack will be used. The duplicate
sets are master quality, they are shot at the same time as the
master sets, so the order must be placed in May before production
begins.
Duplicate set, widescreen show
15,000
9 projector single screen show
with video transfer
50,000
3 projector single screen show
25,000
Duplicate set, 3 projector show
2,500
STAGING:
The staging budget for the National Convention assumes the use of
a large screen and high intensity slide projectors. The budget
assumes that we will interface with the overall contractor. The
assumption is that we will use the house sound, and that the
screen will be physically supported by an existing set. Therefore
our estimate is limited to projection related equipment and crew.
We are prepared to furnish any other equipment you may require.
We suggest that we meet with your staging people to determine
those requirements.
Our budget is for a 20 projector, 3 screen overlap show. The
equipment rental is for one week, which should allow time for the
load in, rehearsal, and the show. Backup equipment is included in
the estimate.
20 Bergen slide projectors
$12,000
20 Schneider PC lenses
800
5 Custom stackers
1,000
7 AVL X Doves
2,600
1 AVL Eagle II
2,000
1 Otari 1/2" 4 track
600
1 Power Distribution System
1,500
Scaffolding
1,000
Screen ( 20x60 or 30x90 )
2,000
4 Man crew for 7 days
12,600
Trucking
2,500
Staging Total:
39,320
On a more routine basis in a hotel environment with audiences of
500 to 1,500, we could cut these costs substantially. We could
provide, on a turn key basis, a complete presentation package
consisting of audio, projection, and basic lighting for
approximately $15,000. This assumes a set up day, a show day and
a strike the following morning. Hotel, transportation and
shipping costs are not included in the estimate. It is possible
that this price could be reduced.
The three projector show could be staged for audiences of several
hundred for less then a $1,000 an event.
PAYMENT SCHEDULE:
Due to the extreme length of the production cycle, we would like
a ten percent retainer to be paid in early 1983 when our Letter
of Agreement is presented. When we begin production, probably in
January of 1984, we would like to be paid on a monthly basis in
even increments, with the final payment due upon completion of
the project. Expenses incurred during the project would be
submitted for reimbursement on a monthly basis.
CONCLUSION:
The production of a multi-image retrospective on the Presidents
first term is an exciting idea. It is a fitting tribute to a
great leader. It will also be a powerful tool for fund raising.
With proper planning, many people will see the show, at the
convention, on television, and at local events. We are honored to
have been selected to work with the White House and the
Republican National Committee on this historic event.
INC.
fire 1984 convention
January 20, 1983
The Republican National Committee
310 First Street SE
Washington, D.C.
Gentlemen:
It is our pleasure to work with you to create the project
tentatively entitled "The Reagan Retrospective - A Multi-
Image Presentation on The President's First Term".
Per our discussions with Michael Evans of the White House
staff, we have prepared this Letter of Agreement as a discussion
draft so that we may meet and discuss the project in detail
in Washington January 24th and 25th.
We are looking forward to working with you on this historic
event.
Sincerely,
IMAGE STREAM, INC.
Christopher Ce Korody
President
CK:ct
Enclosure
VISUAL SERVICES
5450 W. Washington Blvd.
Los Angeles, CA 90016
(213) 933 9196
January 20, 1983
LETTER OF AGREEMENT
PROJECT DESCRIPTION:
Image Stream, Inc., a California Corporation, hereinafter
PRODUCER, will produce a multi-image presentation for
the Republican National Committee, hereinafter CLIENT.
The project, as detailed in our proposal of November
22, 1982, will utilize 20 slide projectors in a three
screen overlap format. The presentation will run between
10 and 12 minutes in length. The presentation will
deal with the subject matter of President Reagan's first
term in office, and as currently contemplated, will
premiere at the Republican National Convention in Dallas
in August of 1984.
SCOPE OF SERVICES, PRODUCER:
PRODUCER will:
Provide the services of a professional writer
who is mutually agreeable to the CLIENT and the
White House.
Create an original stereo soundtrack.
Provide a photo researcher to select images from
the White House files.
Produce all necessary graphics.
Rephotograph all materials to format.
Wess mount all slides.
Program the show at PRODUCER's studio.
SCOPE OF SERVICES, CLIENT:
CLIENT will:
Provide access to all White House photography.
Pay all fees associated with duplication of White
House photography for use in the presentation.
Identify a permanent working approval committee.
DELIVERABLES:
PRODUCER will deliver one set of labelled slide
trays and two tape dubs of the program sound-track
to the CLIENT's representative F.O.B. the PRODUCER's
studio no later than August 1, 1984.
PRODUCTION SCHEDULE
1983
FEBRUARY:
*
Complete contract negotiations.
*
Initial review of White House files and filing systems.
*
Initial duplication tests of prints and transparencies
from the White House lab.
AUGUST/SEPTEMBER:
*
Initial input meeting with White House.
Selection of writer.
*
Identification of audience objectives and presentation
requirements.
*
Meeting with parties responsible for staging the National
Convention. (NOTE: This should occur as soon as possible.)
1984
JANUARY:
*
Write treatment.
*
Begin photo selection and reproduction.
FEBRUARY:
*
Rough draft submitted.
MARCH:
*
Rough draft approved.
*
Final draft prepared and submitted.
*
Record narration.
*
Begin scoring.
1984 Production Schedule (continued) :
APRIL:
*
Scoring completed.
*
Soundtrack recorded and mixed.
*
Begin design.
MAY:
*
Design completed.
*
Picture selection approved.
*
Begin production.
JUNE:
*
Complete production.
*
Begin and complete programming.
*
Rough cut screening.
JULY:
*
Final approval screening.
*
Production of other formats as required.
*
Production of duplicate sets as required.
*
Premiere in Washington D.C.
AUGUST:
*
Load in to Dallas.
*
Rehearse presentation.
*
Add slides shot on site if appropriate.
*
Run presentation.
*
Begin show distribution as planned.
FEES AND PAYMENTS:
PRODUCER's fee for the above mentioned services is $150,500.00,
plus applicable Federal and State sales taxes.
Terms of payment are 10% upon acceptance of this agreement,
25% upon the beginning of scripting, and 65% to be paid
in equal monthly increments beginning January 1, 1984,
to September 1, 1984.
Approved overages will be billed on a monthly basis,
net 30 days.
CANCELLATIONS:
CLIENT's payments to PRODUCER are non-refundable. CLIENT
may cancel at any point in 1983 without penalty. Payment
in full is required after February 1, 1984.
STAGING:
PRODUCER will provide staging of the presentation in
Dallas for the convention. As currently planned, the
presentation assumes the use of a large screen and high-intensity
slide projectors. We assume that we will interface
with the overall contractor. Our bid is based on supplying
projection-related equipment and crew only. Our estimate
for this service is $39,320.00.
PRODUCER reserves the right to a 20% contingency factor
at this time. The cost for presenting the show at other
locations will be presented at a later date.
Terms of payment are 50% July 15th, non-refundable,
50% upon completion of the event in Dallas.
ADDITIONAL WORK:
Should CLIENT desire, PRODUCER will provide any combination
of the following items:
Duplicate set of the wide screen show, $15,000.00
per set.
9-projector single screen show with video
transfer, $50,000.00.
3-projector single screen show, $25,000.
Duplicate set of the 3-projector show, $2,500.00
per set.
ADDITIONAL WORK (continued) :
PRODUCER reserves the right to 20% contingency on these
items at this time. CLIENT must commit to such of these
items as he may require for delivery in August no later
than May 1, 1984.
STANDARD TERMS AND CONDITIONS
TRAVEL, EXPENSES, SHIPPING
All travel required for this project will be paid by
the CLIENT.
Per diem is $50 per day per man in major cities and
resorts. A single room is required for each person.
Messengers and expedited shipping (e.g. Federal Express)
will be rebilled to the CLIENT. Freight shipping, if
required, will also be rebilled.
PRODUCER's policy is that travel and expenses not paid
in advance by CLIENT are billed at cost plus 10%. Messengers,
expedited shipping and freight are billed at cost plus 10%.
All billings are monthly, payment is net 10 days.
APPROVALS
Approval points are identified on the production schedule.
All approvals are final. Failure to respond on a timely
basis shall be construed as an approval to proceed.
CHANGES AND CANCELLATIONS
Any changes requested by CLIENT after an approval will
be billed at $75/hour for PRODUCER's personnel, plus
vendor costs plus 20% plus other applicable charges
if incurred.
LIABILITIES
PRODUCER will make every effort to safeguard materials
supplied by CLIENT and created by PRODUCER for this
presentation, but PRODUCER is not liable for any damage
to such materials or delays resulting from such damage
except in the case of PRODUCER's gross negligence.
PRODUCER is not liable for delays in production caused
by acts of force majeure or God.
LIABILITIES (continued)
Upon FINAL APPROVAL of the presentation prior to shipment
PRODUCER has discharged his production responsibilities.
PRODUCER's liability for STAGING will be limited to the
costs designated for STAGING.
RIGHTS
PRODUCER is given the right to refer to the CLIENT and
this event for the PRODUCER's promotional purposes.
PRODUCER reserves the right to duplicate the final presentation
or utilize the original for promotional and portfolio purposes,
and to enter this presentation at the PRODUCER's discretion
in festivals and competitions.
CONFIDENTIALITY
PRODUCER shall keep all information regarding the CLIENT's
programs and products not released, disclosed, or made
available to the general public, confidential until such
release or disclosure occurs.
INDEPENDENT CONTRACTOR
PRODUCER shall be an independent contractor of CLIENT.
This agreement shall not create any partnership, joint
venture, employer-employee, principal agent, or other relationship
between PRODUCER and CLIENT.
ARBITRATION
Any and all disputes arising out of the Agreement, its
performance and validity, shall be arbitrated in Los Angeles,
California, pursuant to the rules of the American Arbitration
Association, and the laws of California. Judgement in
the award may be entered in the highest Federal or State
Court having jurisdiction.
IN WITNESS WHEREOF, the parties have entered into this
Agreement at the places and on the dates specified hereinafter:
Executed on
Image Stream, Inc.
At
By
Christopher Korody
President
Executed on
Republican National Committee
At
By
MEMORANDUM
republican national committee
June 24, 1982
To: Mike McManus
From: Peggy Venable
pmv
Re: '84 Convention Plans
I would appreciate your input from the White House/
Secret Service on security for the convention.
In the proposed contract (page 22, section 2.19 (a))
you will find outlined what the Dallas police department
has assessed as being needed.
I am interested in: first, if the Secret Service
feels that may be adequate; and second, if they have
any specific requirements. In specific requirements,
I refer to any potential security problems we could
address now. For instance, the Dallas Police Department
has a policy that they must wear firearms when in the
City limits. Should the SS not want them or other
elected officials' security units to carry firearms
in the Convention Center Exhibit Hall, we can begin
working with the City on that now.
In Detroit, I understand the Detroit Police Department
had a clause in their contract which prohibited their
being denied the opportunity to carry a firearm in
the Joe Lewis Arena during the '80 Convention.
Attached is a copy of the proposed contract which
refers to Security and Related Protective Services.
We welcome your input. Thank you.
attachment
- 22 -
(f) The City shall provide (1) an adequate number of
parking lot attendants to direct the parking of cars at the
Parking Facilities, (2) an adequate number of guards to pro-
vide reasonable security for the cars parked at the Parking
Facilities, and (3) an adequate number of traffic policemen to
direct the ingress and egress of cars at the Parking Facilities.
Section 2.19. Security and Related Protective Services.
(a) The City shall provide police, fire and first
aid protection and assistance serving the Leased Facilities
during the Lease Periods. Such services shall be adequate to
the needs of a convention the size of the Convention, taking
into account the particular Convention-related activities that
shall from time to time take place during the Lease Periods,
and taking into account the requirements for said services in
other cities in which earlier presidential nominating conven-
tions of both political parties have been held. Without
limiting the generality of the foregoing, the City shall
provide a minimum of 50 police officers inside the Convention
Center, and a minimum of 200 police officers in surrounding
areas outside the Convention Center, at all times during which
the Convention is in session and during appropriate periods
before and after each such session. At all other times during
the Lease Periods the City shall provide such number of police
officers inside and outside the Leased Facilities as shall be
reasonable and necessary to provide security for the Convention-
related activities that shall from time to time take place
during such periods.
- 23 -
(b) The City shall provide adequate traffic-control
personnel to facilitate the orderly flow of traffic between
the Convention Center and the hotels and motels housing Con-
vention participants.
(c) The City shall provide adequate security,
including police protection and traffic control, at and in the
hotels which shall serve as the headquarters of the RNC and
the Committee.
(d) The City shall supplement its police force from
county and state services to the extent that circumstances may
require.
Section 2.20. Transportation Services. (a) The
City, by and through the Dallas Transit System, shall provide
adequate bus transportation services to transport Convention
participants between their respective hotels and motels and
the Convention Center for each session of the Convention and
for other designated Convention activities, such services to
be available at least two hours prior to the commencement of
any such session or designated activity. The City shall also
provide shuttle bus services between and among the Convention
Center and such hotels and motels during specified periods
other than those periods during which the Convention is in
session. The City shall be permitted to charge for utilization
of such services at prices not in excess of those charged for
such services on February 1, 1984. The City and the Committee
agree to cooperate in the development and implementation of