#we were low-key robbed of such a comedic event

[akaneenaka33]

KIJA LOW-KEY COULD'VE PULLED IT OFF LMAO- He just needed a longer dress and something that wasn't apples to shove down his shirt (canon prettiest dragon)

I would've loved to see Hak and Jae-Ha try it though pfft

babe, wake up. they're doing drag in yona of the dawn

[i-am-the-entertainer]

RevieWBY: Volume 6

This has been stated so many times, but Volume 5 was bad. Okay, it wasn’t terrible, like I don’t feel offended by it being bad (unlike certain folks), but looking back on it I don’t have anything to say to really defend it as something Rooster Teeth should have talked up as much as they did at the time. It had some good things going for it, but the amount of problems it had in terms of animation and writing really put a sour taste in everyone’s mouth. So for Volume 6 to deal with all that fallout, it was going to have to do a lot. And to their credit, CRWBY accepted the criticism in stride, and actively worked to make Volume 6 something that people who despised Volume 5 might enjoy.

Still, one had to go into this season with the understanding that some people were never going to be completely satisfied with whatever CRWBY did. Because at the end of the day, the RWBY that Rooster Teeth currently makes is not Monty Oum’s show anymore. No, this isn’t saying CRWBY is in any way disrespecting his legacy, it’s just Monty Oum had a certain method to running the show that only he could really get away with: epic fight scenes, suddenly throwing giant curveballs into the series’ mythology, taking vital time away from storytelling so the fights looked cool. I mean, there are people who criticize the show for doing that now when they didn’t give two shits when Monty did it, because Monty did it in a manner that somehow worked. I don’t know how he did it, but he did, and, well, he’s not here to do it, and there’s no way even a huge animation team can collectively do things like him. And they shouldn’t: if they can use a better industry standard animation engine than Poser, than the fact that Monty Oum didn’t like animating with Maya shouldn’t stop them.

Blah blah blah...this is all about FNDM reception. What did I think of Volume 6?

Well...

Focus

In my mid-volume review I cited this as Volume 6′s strongest aspect, and as far as I can tell this remains the case. By focusing our hero storyline on one group and for the most part the villain storylines on only a few characters who were paired off, Volume 6 effectively told a story that didn’t force the viewers to juggle multiple things and find some semblance of a continuing story. Everything happened linearly and the whole thing made for a more enjoyable watch overall.

Tone

Building off of that renewed focus, this volume felt like it had more of a consistent tone that lasted from beginning to end. RWBY markets itself as an anime show and uses a lot of that anime-style of humor (slapstick and comedically exaggerated emotions), but honestly it’s always played fast and loose with using that humor in a way that doesn’t feel out of place. In this volume it was more consistently used, and that’s largely thanks to the nailed down focus that allowed character interactions to utilize the humor in a natural way. Ruby and Maria Calavera were especially good sources for humor.

Now, things did get a little more screwball when Cordovin came into the mix, but it was interesting seeing CRWBY take that humor to a logical extreme for the first time in a while (not since the Beacon years). It interrupted the tone for a bit, but not in a manner that overall changed the genre this show is going for.

Animation

Beautiful. The improved production pipeline that we’ve heard about really came through. These episodes were the best they’ve ever looked, minus a few errors here and there, showing just how amazing RWBY can look when you give the animators time to add their own touches. There was some really great fight animation to boot: none of the fights this volume felt awkward, and you could tell the animators had a lot of fun.

Worldbuilding/Storytelling

It feels weird saying that Volume 6 did a better job with worldbuilding than Volume 4, which took place on four different continents and traveled across one, and Volume 5, which took place on two different continents and featured the second major skirmish between the villains and the heroes. I think this has to do with just how well it was integrated into the story: insight into the world came at points where the story needed it and when the viewers wanted it. Nothing ever felt like a massive info dump better suited World of Remnant; where there was just too much information delivered that wasn’t relevant to what was happening in the show. Volumes 4 and 5 had this same problem with establishing the world, often telling us too much in a way that just didn’t feel natural to the story. With Volume 6, almost every chapter up until the final Argus arc included some form of that insight:

Chapter 1 showed us how ordinary civilians deal with traveling through Grimm territory––the steps they take to protect themselves

Chapter 2 showed us some aspects of the Mistral criminal underground, not telling us too much about it but suggesting it was much larger than what Cinder encountered.

Chapter 3 showed us...so many things.

Chapter 4 offered a sense of the stakes RWBY faced in relation to all of Remnant.

Chapter 5 and 6 gave us a glimpse at another form of non-city life in Remnant.

Chapter 7 introduced us to Argus, my favorite of all the Remnant cities we’ve seen; plus a glimpse into the life of the silver-eyed warriors; and a more representative depiction of what domestic life is like in Remnant

Chapter 8 told us what Atlas personnel who aren’t Ironwood or Winter are like, plus the long-awaited insight into how the silver eyes work.

Chapter 9 shows something of the effect the Battle of Beacon, and by extension Pyrrha’s death, had outside of our core group.

Things kind of teeter off with the finale arc, but that’s because worldbuilding became a little less important to what was going on. This is kind of a stretch, but the mech fight and the arrival of the Grimm in Argus give us an idea of how large non-capital cities defend themselves without just spelling everything out.

All in all, this volume delivered on some impressive worldbuilding, probably the best the series has had in a while. It wasn’t massive info dumps unless it needed to be (e.g. Chapter 3), and it offered just enough for other important things like the storytelling and the action to still be in the forefront.

Characters

Volume 5, despite the fact it involved the major reunion of Team RWBY after two volumes, felt like it was simply putting the main characters through situations without those situations really doing anything to develop them or define them as anything beyond what we already knew. Some characters fared better on the development front, namely Yang, but others, especially Ruby, just seemed to be along for the ride without us getting any insight into them. This is where the writing issue that came from separating everyone starting with Volume 4 really came to a head: too many different characters with their own story to cover, and sometimes those stories just didn’t do much for the character beyond existing as a situation they were in.

Volume 6 feels like the refutal of that, and that mostly has to do with the fact that we’re not juggling so many storylines anymore. When a major event happens to the heroes, everyone gets affected at the same time. The train crashes? DEVELOPMENT! Jinn’s story? DEVELOPMENT AND INSIGHT! Snowstorm? INSIGHT! The Apathy? DEVELOPMENT! Telling team JNR about Jinn’s story? DEVELOPMENT! Adam ambushes Blake and Yang for the first time since Volume 3? DEVELOPMENT! WITH A HEALTHY DOSAGE OF ANGST!

Surprisingly, the same thing is happening to two of our favorite villains, Mercury and Emerald: even though they only really appeared in three chapters this Volume, we actually got a surprising chance to see how their defeat at the Battle of Haven affected them, and their increasingly strong misgivings about working for Salem. We get more of an idea of them as people rather than Cinder’s blind followers, understanding why they stuck with such an evil person for so long. It’s the most we’ve learned about them since Volume 3, and we didn’t even need lengthy flashbacks.

Even Adam got some more insight. RWBY has been following the path that Adam was an abusive ex-boyfriend for quite a while now, but there was always this underlying thought that he got into the White Fang business for a seemingly noble cause. The problem was the show hadn’t depicted how he got from Point A to Point B. The Adam Character Short offered us some of that much needed insight, putting some of his actions up to this point in a new context, even if it was set-up for clearing up some things so they could get rid of him.

Of course, there are still exceptions to characters getting character development, and honestly they’re kind of glaring ones. Oscar’s development arc, where he came to accept he was his own person, completely happened offscreen (for reasons that I’ve brought up before and will reiterate in the final section), robbing us of really witnessing his growth as a person. I enjoyed some of the stuff Cinder did this volume, especially her escape from the vault and her fight with Neo. But honestly she continues to be a pretty bland villain with little hints at her motivations for being such a terrible person: the Battle of Haven was such an utter defeat for her there needed to be some form of consequence that would’ve affected her character while also telling us more about her. Maybe it would’ve been her strategizing her revenge, which would’ve gotten more insight into how she thinks as a master planner. Instead, we get her leaving the vault, more or less going back to what she used to do but in a more low-key setting, fighting with Neo, plotting with Neo, and leaving with Neo. It felt more like “Hey, she’s alive, and here’s what she’s doing,” which while I appreciate it feels kind of a waste of time if you’re not doing anything with her beyond that. Honestly, a post-credits reveal that she was alive and then a pre-Volume 7 character short detailing how she made it to Atlas that covered her and Neo’s entire storyline this volume would’ve been more helpful.

Before I go on to my most major critique of this volume, I need to address the two Goliaths in the room.

Adam

I’ve said it before and I’ll say it again: they needed to get rid of Adam. The way things have been going, there was only so much more you could do with his character before he became a nuisance that was overstaying his welcome. I understand people wanted some deeper insight into him, but the fact was he was never introduced to be a major villain to anyone beyond Blake and later Yang. They could’ve had him have a thing against Weiss, but they didn’t, they focused the time that would’ve made him a major villain for everyone else on making people like Roman and Cinder and Salem the big villains. They decided on the path of abusive ex-boyfriend a very long time ago, and if you hadn’t figured that out after the Adam Character Short I honestly think you were being willfully ignorant to what’s been building up.

The best I can say is that Adam and his history is a missed opportunity for some pretty interesting storytelling and worldbuilding, but the fact remains: it is not his story that they want to tell, it is not his show. It may make something interesting to think about, but Adam’s story is supplementary, and works better in supplementary material, a la character shorts and maybe mangas.

Jaune

Y’all need to quit it with the “Hrrr drr Jaune took up time again moan moan Miles Luna is self indulgent” talk, he barely did anything this volume beyond Chapter 9 and having a sister that the whole fandom loved.

Pacing

This...this is where Volume 6 ran into trouble.

Overall, from the season premiere to the finale arc, this was probably the best-paced season of RWBY we’ve ever had. Major story events happened right when we needed them, and for the most part they didn’t drag out story arcs for any longer than they needed to be.

Well...until they reached Argus, that is.

At face value, a lot happened in the final couple of chapters. Chapter 8 gave us Maria explaining the silver eyes, Chapter 9 had the scene with Pyrrha’s statue and the mysterious Red-Haired Woman (I’ll headcanon whatever I want about who she is, Jen Brown) Chapter 10 started the Cordovin fight, Chapter 11 reinforced Blake and Yang’s partnership, Chapter 12 killed Adam, and Chapter 13 had Ruby finally use her silver eye powers to defeat a Grimm and they made it to Atlas. Yeah, it was a pretty eventful set of episodes.

So then why did it feel like it dragged? Here are a couple reasons that I’ve identified.

1. The Cordovin Battle sidelined story arcs for too long

I’ve said this before, and I’ll say it again: the finale arc should not have been split up like that over so many episodes. It afforded us some pretty well-animated fights, some of the best the series has ever had, but the volume hadn’t been relying on that action to keep up the forward momentum, but on actually telling the stories of these characters. I get the need for CRWBY to prove that they can do well-animated fights, but as I’ve come to accept action should never take precedence over storytelling (I know, that’s hard to swallow when parts of the fndm spends hours complaining about how Monty’s not animating the fights anymore). And it’s clear to me in this final arc put emphasis on the action over the momentum of the story, bringing the actually pretty good storytelling the volume had had up to that point to a grinding halt.

Now, historically RWBY fights have delayed telling stories, but it’s never been for too long, at most maybe two chapters? But if you spend three chapters on a single fight, thereby devoting three weeks of your viewers’ time to high-octane action, people are gonna notice that the story is basically going nowhere.

What could’ve made this less of a problem? Well, perhaps establishing Cordovin earlier and making her less of a buffoon would’ve eased my hatred of this arc. Volume 6 lacks a clear antagonist for the story, but the way Cordovin was treated as a big deal in this final battle made it seem like she was taking up that role, except we didn’t even see her until the final half of the volume, and in her debut we couldn’t take her seriously as a villain, much less an antagonist, because of the pure comedy they used in her intro. There needed to be something about her at least a few episodes early––take this with a grain of salt because I think following JNR in Argus would’ve killed the balanced pacing of the first half of the volume (and just made the Jaune haters apoplectic), but maybe a few quick scenes of JNR arriving in Argus and getting rejected by her would’ve been helpful. Or honestly easing off on the comedy of her intro. Such a one-note character who we are primed to not take seriously isn’t interesting as a major force, so identifying her as a more threatening roadblock for the heroes would’ve made the stakes of the final fight a little more...present.

2. Important storylines got trimmed for time’s sake and weren’t addressed properly.

@hypeathon (whose excellent production analyses for this Volume are well worth a read) identified a tweet Miles made back in October, prior to the premiere and most likely when they were finishing storyboards, about “killing your darlings.” For those unaware and who may have severely misinterpreted that comment, “killing your darlings” is when writers have to sacrifice something they love or want to do so that the story works better. The timeliness of this tweet (after they would’ve finished the script but before they’d wrapped on storyboards and voice acting for the final episodes) suggests the writers’ room had to cut a lot of material from Volume 6 (what Miles called a massacre of darlings), most likely due to production limits or not having enough time to cover them.

Think about it: the story from Chapters 1-7 was really good: everything was properly spaced out, the scripts felt polished, there was a balance of action and comedy and legit storytelling, the good pacing lasted longer than it ever has within a single volume.

Then we hit Chapter 8 and suddenly it all changes: storylines don’t get the proper time devoted to them, arcs come to a screeching halt due to the big fight. Unlike previous volumes, where the imbalance was pretty much the entire volume, there’s actually a clear point right in the middle of this volume where things suddenly took a turn for the worse. And the fact is, some of the problems with the story in the final arc suddenly make more sense if you accept that time that would’ve been devoted to it got sidelined in this “purge”: Qrow’s alcoholism suddenly getting brushed aside after Chapter 9 hopefully to be addressed next volume, Oscar disappearing and all his development happening offscreen, Adam’s completely unsubtle return after only a vague hint in Chapter 1 that would’ve been stronger if he’d kept popping up in Argus. I’d even go so far to say the odd pacing of the final few chapters could easily have been the result of the writing team not being able to devote a single chapter to such a grand fight, so they needed to stretch it out so CRWBY could actually animate it within reasonable deadlines, which meant sacrificing time for those arcs that so desperately needed development.

So what overall is gonna fix RWBY’s pacing in the future? Well, I think at the moment the show is too ambitious. If it wants to keep to a reasonable production schedule, they need to control the scale of their finales so that it can be completed without needing to sacrifice other storylines. If it wants to hold onto that ambition and make the finales as grand as they want it to be to do their boy Monty proud, then they absolutely need to delay the actual release of the volume so they can put in the proper amount of time to both the story and animation. And I don’t think anyone would mind waiting a little longer for Volume 7 if it meant this show got the care and attention it needs to tell the story it clearly wants to tell.

Conclusions

Evaluating Volume 6 is impossible without evaluating what came before it. RWBY was never a perfect show, but when you lose someone who was responsible for the show’s popularity in the first place and have to change how it’s made to make up for his absence, there’s going to be backlash. Backlash from the fans, and, uh, backlash from inside the company. The fact is, people are never going to be satisfied with the RWBY that Rooster Teeth makes today, and Rooster Teeth is never going to push out a RWBY that will make everyone happy. All they can really do is keep moving forward.

And move forward they did. Despite my problems with the finale, Volume 6 was good. I’ve always been sort of ambivalent about the show (I was drawn to it by my brother shortly before Monty’s death and have been watching it out of respect for him and the company as creative artists), and even if I thought some of RWBY’s critics were being too harsh (or seriously needed to find something better to do), I didn’t find Volumes 4 and 5 enjoyable enough that I felt like defending them. But guys, Volume 6 did something amazing: it made RWBY fun to watch again. Focused, consistent, and compelling storytelling plus gradually eased-in worldbuilding made for a story that I could follow along without having to juggle so many different plots. Improvements in the overall animation made things nice to look at and when fights happened they were always entertaining, never making me cringe or grimace, always making me think “Hell yeah, beat the shit out of them!” Just like I felt back in the old days of the show.

I feel as though what’s holding RWBY back at this point, however, is adhering to the production schedule that its old vision called for in making its current vision. And it honestly cannot keep doing that. RWBY is a show trying to reach grand heights, and its rushed production timelines and lost story arcs are keeping it tethered to the ground. Yet I can’t help but say: Volume 6 is RWBY at its finest so far. It can’t fix the problems that previous volumes have had, but it builds on the void those problems left to build a story that makes this show feel like something worth following once more.

So, I can safely say I’ll be following along when RWBY returns for Volume 7...hopefully later rather than sooner (again, it needs a better production schedule).

[kickstarter-promotion]

Another Amazing Kickstarter (INNER GHOSTS by Paulo Leite —Kickstarter) has been published on http://crowdmonsters.com/new-kickstarters/inner-ghosts-by-paulo-leite-kickstarter/

A NEW KICKSTARTER IS LAUNCHED:

INNER GHOSTS is a scary ride into the heart of a woman who’s about to face a longtime enemy – a demon in the making – for the last time. What brings these two characters together and what they will do to each other is just one side of our story. 

What will happen after that, will blow your mind!

The goal of this Kickstarter campaign is to give us some FINISHING FUNDS that will allow us to finish the film with the best sound possible. Yes, the film is completely shot and edited. All digital effects are finished. We’re close to the end of this amazing journey.

INNER GHOSTS is a horror feature film entirely produced in Lisbon, Portugal.

“If ghosts can function and remember who they were, even though they lack a physical brain, then the brain is not the only place where we store key information about ourselves. The soul is the key.”

HELEN is a neuroscience researcher trying to develop a revolutionary therapy to treat degenerative brain diseases like Alzheimer’s. To prove her theories, she needs to run cognitive tests on ghosts: beings who apparently can act and remember without the need of a physical brain – suggesting that unresponsive patients whose brains are too damaged to function can be accessed, somehow, through their living souls.

After the death of her mentor, Helen finds an apartment inhabited by benign ghosts who agree to be tested. The problem is Helen renounced her gift 15 years ago after the loss of her daughter when she made a vow never to contact the other side again. Things start to change when an artist called ELSA begs Helen for some spiritual training hoping to get rid of a demon who has been haunting her for many years.

Helen reluctantly accepts it unaware of the demon’s true goal. Meanwhile, Helen’s tests with the ghosts are a success. The entities offer her the design of a device that can communicate with the dead (and possibly living patients), triggering a set of events that will bring Helen face to face with the demon she has known all along. After so many years, two enemies are about to meet for the last time, showing us that revenge is a dish best served cold. Oh, but there’s so much more happening!

Over the years, we read many books about ghosts and grew frustrated with the lack of concrete answers some of the most reputed psychics seem to offer. That was when we turned to actual reports on scientific experiments made over the past decades that we began to find some answers.

Some of the ideas and results that were reported were so sophisticated that we were stunned no one ever used them in horror films before. There were so many fascinating ideas that we could not fit them all in just one script. But writing a horror story is a labor of love and, through some several drafts, INNER GHOSTS nearly wrote itself over the period of one year.

We’ve always thought horror fiction (in literature or films) to be the sign of superior minds and a healthy society. You don’t believe in us? Take a look at Soviet and Nazi cinema. They did not produce horror films. Why? Because horror stories are subversive by nature.

They show us things about the universe around us and ourselves that the powers that be do not want you to see. They tell us the truth other genres try to hide. Great horror stories leave no one indifferent. INNER GHOSTS is one of those stories. It will show you something about the Universe that is truly original, disturbing and scary.

Because the best projects and the best people are on Kickstarter.

We invested three years of work in this film. For outsiders, it’s just a horror film. But for us, it is a true passion. We love the genre, we love this project and we love our audience. The good news is that the film turned out better than we could ever imagine. After developing, pre-production, production, editing, digital effects, we’ve got something we’re really proud of.

But we also took the film as far as we could with the very limited resources we had. Now it’s time to bring in the BEST crowd in the world to help us: horror fans. There are no people like horror films people!

Every serious horror fan knows how crucial sound is to horror films. From older classics like ROSEMARY’S BABY (1968) and THE SILENCE OF THE LAMBS (1991) to recent films like THE CONJURING (2013), IT FOLLOWS (2014) or THE WITCH (2015) sound is key to a great horror experience.

Unfortunately, a sound mix in a professional studio costs a lot of money. And the same goes to foley services, ADR, music recording and additional sound-related deliverables we must have if we want you to experience INNER GHOSTS as well as you deserve. We worked hard to give you a horror story that will make your jaw drop (really!). We are fully committed to the project’s quality and we humbly ask for your help. INNER GHOSTS is an incredibly ambitious film that needs a sound that will do it justice.

CELIA WILLIAMS is a British actress. She studied at the Guildhall School of Music and Drama. Her work has taken her to London and to Edinburgh, to Lisbon and even India. She has performed in a variety of genres including tragedy, drama, mystery, comedy, musicals, opera, radio, television series and feature films. Among many major roles on stage are Jean Cocteau’s THE HUMAN VOICE in London’s West End, THE DIARY OF ANNE FRANK, DON’T WALK ABOUT WITH NOTHING ON, and BE MY BABY, also in London; Paulina in DEATH & THE MAIDEN, Elizabeth I in MARY STUART, Nora in A DOLL’S HOUSE, Stephanie in DUET FOR ONE, Gertrude in HAMLET and Judith Bliss in HAY FEVER.

ELIZABETH BOCHMANN has a degree in Drama and Theatre Arts from Goldsmiths College, University of London, as well as short courses on Technical Voice Production and the Method. She has played major roles in PYGMALION, HAY FEVER, THE MOUSETRAP, RELATIVELY SPEAKING, THE PROVOKED WIFE, THE THREE SISTERS and ROMEO AND JULIET. She has appeared on TV in soap operas and in short films, including THE HUNCHBACK, written and directed by award-winning director Gabriel Abrantes and Ben Rivers. INNER GHOSTS is her first experience working on a feature film. Her passion is, and always has been, acting. “The feeling of being able to bring another character to life is an extraordinary sensation, and the challenge is to embody that person with as much truth and honesty as possible”.

IRIS CAYATTE spent her childhood and teenage years moving from place to place (from the vast Finnish forest to the desert of Alentejo, to Luxembourg and back to Lisbon where she completed the International Baccalaureat at an international school. She is fluent in Portuguese, English and French. At the age of 17, she moved to London where she graduated from The Central School of Speech and Drama in 2008. Since then she has been busy working in major theater productions. On Film she has worked with directors such as Roberto Faenza in SOSTIENE PEREIRA, Fanny Ardant in CADENCES OBSTINÉE and Rob Marshall in NINE.

NORMAN MACCALLUM was born in Scotland but has worked in many countries. In Portugal, before INNER GHOSTS, he was cast as a comedic journalist in one of the country’s biggest advertising campaign ever. Norman has also experience in television, theater and film. His commanding presence and perfect reading of the character gave him a challenging role on INNER GHOSTS.

ANA SOFIA LEITE studied at the Escola Superior de Dança where she won a scholarship that made her move to the Fontys Hogeschool voor de Kunsten in The Netherlands, where she graduated in Theater Dance Performing – Modern Dance. She continued her training through several workshops: Forsythe Improvisation, Feldenkrais technique, Release, Contact improvisation, Fly low, and more. Between 2007 and 2008 she worked with Helma Melis, Sjoerd Vreugdenhil, Eddy Becquart and Paul Estabrook (The Netherlands). Back to Portugal, she was part of the Kamusuna Ballet Company. Beyond being a ballerina, Ana also teaches both classical and contemporary dance. She was chosen for INNER GHOSTS because if her ability to express character simply through movement alone.

AMANDA BOOTH was born in Yorkshire, England. She began traveling early in life and her acting career started when she was thirty-seven when she played the role of Lucky in WAITING FOR GODOT. As a stage actor, she has toured Europe as well as performing several times at the Edinburgh Festival. She has worked for radio and television and been a successful voice-over artist for many years. “Acting is the pleasure of absorbing myself in the task of creating a credible character. It’s like being a detective where you work out the profile of your “suspect” and then assimilate it into yourself” She’s always been a fan of horror movies.

PATR��CIA GODINHO is one of the most promising young actresses in Portugal. She studied at the prestigious Escola Superior de Teatro e Cinema and quickly began getting roles outside the school. Currently, she can be seen at OS JOGADORES, a TV series on RTP Radiotelevisão Portuguesa.

JOÃO ALVES (director) is the director of the award-winning short BATS IN THE BELFRY. He is also a highly skilled storyboarder, animator and digital artist. INNER GHOSTS will be his first feature. João is dedicated to his craft and has a unique eye for detail.

PAULO LEITE (writer/producer) has almost 20 years of experience working with TV and Films. INNER GHOSTS will be his first producer credit. Paulo is also a film professor at Lisbon’s Film School and is passionate about the horror genre.

MIGUEL SALES LOPES, A.I.P., is Portugal’s top cinematographer, having over 40 films under his belt. He was the filmmakers’ first choice and was easily won by the story and the project’s ambitions.

JOÃO RAPAZ is the makeup artist heading a team of the best makeup artists Portugal has to offer. Over months of preparation and weeks of shooting, the producers successfully destroyed their personal lives and relationships. But the work they made in INNER GHOSTS made us proud.

ANIBRAIN was the company selected to produce the digital effects we needed. It was selected after months of research in North America, Europe and Asia for the right company. Based in Pune, India, an army of artists led by Jesh Murthy and Mark de Sousa brought the expertise that made all the difference.

We chose our team carefully because we fully understand the risks of not having the best people. Plus, they all love the project and are fully committed to seeing it come to life on your screen.

“We wanted a Kickstarter campaign that was different from all others. We wanted a campaign that would celebrate the awesome film we are making and be relevant to horror fans and filmmakers who are as passionate as we are about the genre.

We tried to pack as much value as possible as early as possible, so our backers don’t have to spend a lot of money to get nice stuff. On the other hand, we have some STUNNING rewards for those SUPER DUPER backers who feel like giving a little more. Got questions? Let us know and we’ll get back to you right away.

Here is our first reward. The A-Class goes for a pledge as low as just $1.

Our B-class reward has something really useful.

The C-Class reward gives you another great tool to help you make your horror film. And how about a thank you tweet for 25K people? Sweet!

The D-Class reward gives you the film INNER GHOSTS in the format of your choice. It also gives you a pretty revolutionary reward: “Marketing and Developing Your Horror Film”. Yes, there are books about film marketing and development. But their approach is usually “one book fits all genres”. Well, this one is specifically about HORROR!

Get a real film credit with our E-Class reward. For just $49 you can become an Associate Producer. That’s pretty awesome. Also, you get a t-shirt that shows your love for the genre… and more!

The H-Class allows you to add amazing stuff to the previous rewards. It comes with four options of add-ons.

      Now we enter the Premium Rewards. The I-Class reward gives you a personal Skype session with director João Alves. Or you can go a bit higher and get the J-Class reward: one of the demonic paintings straight from the film set (only 10 are available though)!

The K-Class is really special: come to Lisbon for a private screening AND be part of our group in every festival and market we attend. We’ve been going to most festivals and markets for years and we know them very well. Learn HOW they work and WHAT they can do for your project. We’ll give you the best tour you could ever imagine! Travel, accommodations and accreditation costs are not included, but we’ll advise you on the best solutions (we’ve been doing it for years). Take a look:

The M-Class reward is pretty special: some gorgeous 16-inches demons you will love! Only 10 are available for now.

And now for something completely different: the N-Class reward! Give us one tweet and we’ll put it in the film. Here’s a suggestion: say “I love you” to someone special right in a horror film! The rule is simple: 140 characters + one image.

The P-Class will give you a full day with writer/producer Paulo Leite, wherever you are. All costs are included! It will also get you a co-producer credit. However, you are NOT just getting a credit: let us go over your horror project and give you some precious insights on what you can do to make it even better. that’s what co-producers do.

Q-Class and R-Class will give you two very important movie props. “The Device” and “The 3D Boddy Scanner”. Only one of each exist. Pledge now before they’re gone! (Or before we change our minds!)

Our amazing special effects team made these two heads for a very special scene. Get them separately (S-Class or T-Class rewards) or get them or both (U-Class reward). The level of realism of these heads is impressive!

    After the bang, we’ll end our rewards in style! V-Class reward: become an executive producer. Put your company name right after our own. W-Class and X-Class will give you remake or sequel rights – or both if you pledge for the Y-Class reward. Get access to our Intellectual Property and use it in your own film (scroll down for the conditions that apply):

(***) Those REMAKE and SEQUEL rights come with a few conditions:

1 – The REMAKE rights include SCRIPT, TITLE, STORY and CHARACTERS. Starting from the first day AFTER the end of this campaign (providing payment succeeded), you’ll have a period of 10 months to start PRINCIPAL PHOTOGRAPHY (SHOOTING). After that, you have 6 months to finish the film.

2 – The SEQUEL rights mean only ONE sequel (not ten) that MUST be titled “INNER GHOSTS 2”. It can be a sequel to our film or a sequel to the remake (you choose). It includes the CHARACTERS, the TITLE and any STORY element you need. The SEQUEL rights are yours for a period of 24 MONTHS, starting on the first day AFTER the end of this campaign (providing payment succeeded).

3 – You cannot sell, loan or give as collateral these rights or use them in a way other than making the afore mentioned film(s). After those afore defined periods of time, the Remake and Sequel Rights revert back to the original producers.

4 – The INNER GHOSTS producer will receive a credit as Executive Producer on the films that result from tue acquisition of these rights.

5 – No equity, promise of equity or any other value is needed, asked or offered for/with these rights. We want to fully comply with Kickstarter rules here!

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