Ghost In The Machine World Premiere

@GhostMachineMov Premiere - Meet the Cast & Crew

Today we meet our incredible DP Damian Daniel. A rising star & his work speaks for itself. We love that he wanted to shoot anamorphic Check him out: https://dpdaniel.com @bansheeprods #SupportIndieFilm #Horror #DontPlay

Ghost in the Machine World Premiere

@GhostMachineMov Premiere - Meet the Cast & Crew Today we meet our incredible VFX guru Peter Hardy. Guaranteed you’ve seen his work. Check him out: https://www.imdb.com/name/nm3941548/

@bansheeprods #SupportIndieFilm #Horror #DontPlay Join us https://youtu.be/QABrh8v6DXU

Ghost In The Machine World Premiere this Halloween

Finally after the last few years we are able to release Ghost In The Machine. I can not tell you how excited I am to finally be able to show the film. Here's the official announcement. Hope you can join us at the link below. Coming this #Halloween @TERRORtUBE are proud to present the world premiere of @GhostMachineMov exclusively to our channel. You are invited to join us https://youtu.be/QABrh8v6DXU GMT – 19.30pm UTC – 18.30pm EDT – 15.30pm PDT – 12.30pm @bansheeprods #SupportIndieFilm #Horror #DontPlay

The Long Road Production Update Sept 2022

Hi Roadsters I hope you’re all well. Now that the summer holidays are over I can finally get back to The Long Road and have started on the final edit today. Here's a picture.

I am exporting the project across from Final Cut and will complete the film on Davinci Resolve which for my money is the best post production software out there. Although straightforward this is a time consuming process and will likely take a week or so to get right. It involves exporting the timeline and medias of the film as an XML out of Final Cut and importing it into Davinci. This process generally works reasonably well but there are always slight glitches, missing shots etc. so although it's supposed to automatically rebuild the project as it was, this never quite fully happens for all sort of computer reasons that are above my pay grade. This means having to do some amount of reconstruction work the other end and having to manually replace shots and sound and re-conforming the project just to get back to where it was originally so you can then start to re-edit. Now why do all this work I hear you scream? Simply put Davinci is the industry standard and a much more powerful tool for the job. The film will literally be better for it but as I found out last year when going through the exact same process on another project called Darkcode there are always incompatibilities between the softwares. However, as I found out on that project the extra work (pain) is well worth the end result.

I will keep you up to date on my progress but in the meantime strap in it may get painful. On a different note I have sent out all the perks I can at the moment including the shooting script. The remaining perks are now related to the completion of the film. Once done they will be sent out. I am determined to get the film finally finished by the end of the year. As always a massive THANK YOU for all your support and patience in what has indeed been The Long Road (I'll get my coat) In the meantime I have been uploading lots of content to my You Tube channel Terrortube which you can watch for free including my first feature film Through The Looking Glass. Here's the link: https://www.youtube.com/channel/UCRhN-Ie0Lv6COpMO8HHXVFw Please feel free to subscribe for more free filums. I hope you are all well and safe. May the road rise with you until next time. Big love Craig

Long Road Production Update June 2022

Hi Roadsters I hope you’re all well. Sorry it's been a while since the last update about The Long Road but I've been pretty busy on a couple of long running projects that have had very BIG deadlines and taken up all my time. Hopefully these are coming to an end soon. Since the last update I have sent out all the perks I can at the moment. Sorry if you haven't received yours yet but I promise you will get them as soon as they are ready. Most of the physical perks have been posted except the DVD's and the digital perks are still to be sent. This is because as some of you know I have been re-editing the film. Don't worry I'm not doing a George Lucas and putting in lots of CGI. I haven't got the. budget for that! :) Basically the film was finished about 3 years ago and picked up by The British Council who then spent a year or so showing it to all the festivals/sales agents. The general feedback was that the beginning didn’t work well enough so after about a year of trying to get a deal we decided to do a re-edit, which I’ve been slowly doing between the other projects. Then the pandemic happened and my editor wasn’t available and I was caught up with an interactive Zoom movie which is about to come to an end (That’s a whole other story I’ll bore you with over a beer at some point.) I’m hoping to finally get back to the edit at the end of the summer so we can resubmit and try for another deal. Having to re-edit also means having to re-colour grade, re-sound design/mix and playouts which is a big costly process. It happens on pretty much most films but normally they have the money to do it quickly. The perks of indie film making eh? I know this all sounds like a nightmare but actually it's pretty normal for an indie film. As I was telling my old pal and backer of the film, Sammi, I could tell you some real horror stories about what some of my friends have had to deal with. You quickly get used to it. It’s always a catch 22 getting a film made even for the big guys. You need the money to get a named actor, but can’t get the money without a named actor and even then you can’t always get a deal. It took Clint Eastwood over a decade to get Million Dollar Baby made and they even said no after he’d just won an Oscar for The Unforgiven, so if it’s good enough for Clint it’s fine by me. The re-edit would have been finished a year or so ago if it hadn't been for these other projects but I guess it's a good problem to have. Film making is always about juggling projects and I seem to have several that are just long running and full on…but I wouldn’t have it any other way. I am determined to get The Long Road finished this year either way by hook or by crook as they say. And once it is I shall send out the digital perks/DVD's asap. Thanks again for all your support everyone, I honestly didn’t think this would take so long as it was designed to be a quick “guerrilla" style filum but life has as way of saying nope doesn’t it? Again thanks for the support, it really does help keep me going. In the meantime I have been uploading lots of content to my You Tube channel Terrortube which you can watch for free including my first feature film Through The Looking Glass. Here's the link: https://www.youtube.com/channel/UCRhN-Ie0Lv6COpMO8HHXVFw Please feel free to subscribe for more free filums. I hope you are all well and safe. Anyway as always may the road rise with you until next time. Big love Craig

Introducing TERRORBiTES

Friday 13th May 2022:

The perfect date for @terrortube to annouce it has added a new playlist called TERRORBiTES, showcasing some of our fave #horrorfilms from other #filmmakers. Plz welcome our first guest filmmaker Adriano Gazza (@AdrianoGazza) with his film Underneath. Check it out https://www.youtube.com/playlist?list=PL6c1lxwc8uCl5x3c_lWsnFIoHb4lJEXr0 TERRORtUBE is a You Tube channel specialising in horror films.

JOHN WILLIAMS - a 90th celebration

To celebrate the 90th birthday of The Maestro John Williams I wanted to share a few memories of my time as a life long fan and what his music has meant to me. 

The First time the music of John Williams would have any impact on me was as a 5 year old boy. 

It was 1975. 

And “THAT THEME” was everywhere. 

“Dun-Dun. Dun-Dun.”

I was terrified to go into the water after that. Jaws was as we’ve now come to realise the start of the blockbuster but it was as lean a film as I’ve ever saw. The troubles with Bruce are legendary and so director Steven Spielberg turned to the music to deliver the scares that the rubber shark couldn’t and boy did the music do the job. You could hear those two simple notes being hummed at every beach,swimming pool and bathroom you went to that summer. Of course at the time I didn’t know it was John Williams. But I certainly knew the music. 

However, like many of us I didn’t become aware of who John Williams was until 1977. It was my birthday and Mum and Dad took me to the cinema to see the film that would change everything.

To this day I still get excited chills hearing that trumpet blast. Like all geeks of a certain age I was obsessed. And as we played with our Palitoy miniature people and clashed our orange handled laser swords together, we would hum the music of John Williams. It wasn’t long before I had the soundtrack cassette and sitting in the front room headphones on, volume up, riding the old rocking chair back and forth like an X-Wing, my mind was among the stars. 

Next came the Mothership. Watching with my dad at the Chapter Arts centre in Canton, Cardiff neither of us could believe what we were watching and hearing as that majestic spaceship rose up and glided over the Devil’s Tower. To my tiny little brain that end scene where music is the language by which we communicate with aliens was a true stroke of genius and getting to watch the film at the base of the real Devil’s Tower many years later really brought home to me just how crazy an idea it was but somehow so right.  So perfect.

Then followed Superman. Watching the red velvet curtains opening on the screen and being whisked away to Krypton with that epic main theme literally announcing his name. You couldn’t help but believe.

That music grounded these films in a kind of reality and I never doubted that they were real.

And so it went on, whether it be fighting Nazi in the desert or aliens flying bikes across the moon the tone of my childhood was always set by his music. 

Of course as I got older and my tastes changed so did the music but somehow his music never lost that thrill, that excitement, that shear joy. 

I might be changing but my love for the music wasn’t, through chomping Dinosaurs, boy wizards and further battles in that galaxy far far away, one thing remained constant. 

The score. 

The score was always just right.

And then finally after many years of trying but somehow missing the mark, I got to see him conduct live in Vienna in 2020, just before the pandemic and it was truly a transcendental experience. A life long culmination of my love of music, not just his music but of music itself. Seeing a master at work and how he controlled the orchestra in that way was sublime. So much so I was hooked, like a John Williams solar eclipse chaser I had to experience it again. This time in Berlin a year or so later. And again it was overwhelming. I was on my own and three lovely old German ladies took me under their wing. Not only did we talk about our love of the music and the excitement of watching a live orchestra, but they also shared their sweets with me in case I should need to cough. They explained it was the done thing just in case, so as not to spoil the concert. 

And to me that is the power of his music, that shared common ground that brought us together and broke all the barriers. Music that united a gruffty Welshman like me with the height of German bohemian socialites. Just for the shear joy of it. 

As I look back, over the years many companions have come and gone in my life but The Maestro is the one who has remained a constant. After nearly 50 years of listening to his music I can honestly say he is the magic to all those films I love, he is the secret ingredient…the magic sauce, even when the films aren't so great, he always is. 

And now I find myself about to embark on one more adventure to experience The Maestro at work, again in Vienna March 2022. I am aware that this is most likely the last time I will get to see him conduct live and that deeply saddens me but I am also filled with joy to realise that I have been lucky enough to be alive at the same time as one of the all time great composers, not just for film but in music full stop. So if this is to be the last time I experience him “leading the band” then I will relish it for all it is worth. But you know there is a part of me that thinks there will always be a next time. Who knows, that’s the beauty of life. A couple of years ago I was supposed to see him conduct the LSO at the Royal Albert Hall and he became ill the night before and couldn’t make it. I really thought I would never get to see him conduct. I honestly thought I’d missed my chance and yet now as I stand on the edge of seeing him a third time in as many years (despite a global pandemic) I guess anything is possible. And until it isn’t I will continue to chase the eclipse. 

So, I’ll leave you with my absolute pinnacle of John Williams music. For me the piece that no matter how many times I’ve heard it (and I have heard it so many times), it never ever makes me feel anything less than exhilarated and always takes me right back to that rainy Sunday morning in a dark smoky cinema in Cardiff as a 10 year old boy sharing the adventures of our heroic trio, Luke, Leia and Han as the dreaded Darth Vader closes in. 

If for nothing more than the absolute joy he has brought all our lives over the years, Happy 90th birthday Maestro. 

Cue: the Imperial March.