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ghostbustershq · 6 months

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Ghostbusters: Frozen Empire - Teaser Trailer Full Breakdown

In the grand tradition of GBHQ trailer breakdowns, here we go with everything that’s fit to digitally print on the recently released teaser trailer for Ghostbusters: Frozen Empire!

The trailer pulls a great switcheroo in the style that has become common-place for large blockbusters like this, which really bums me out that the first experience many (if not all) of us have had with this teaser is seeing it on our phones, tablets, computers, what have you knowing that you’re watching a trailer for a new Ghostbusters movie. Can you imagine being in the theater, the lights darken, all the ads finish, the green band MPAA rating pops up, and then you see this not knowing it’s coming? The first 20 to 30 seconds of this trailer are wonderful and tense moments where you’re waiting for the turn. I have to imagine that circa-1988 Troy would have lost his mind with that unexpected firehouse reveal.

Ghostbusters: Frozen Empire (more on the title a bit later) looks to be a great departure for the series, opening up the world both in terms of visuals and story, and seems to speak to literally all of my preferences and loves in life: Ghostbusters and the cold and snow. In other franchises like Star Wars, the ice planet Hoth continues to be among my favorites. Possibly the Colorado kid in me that I just love the aesthetic of a wintery snowscape. And it’s no secret that I hate warm weather and prefer the cold, give me those fall and winter clothes and coats and wardrobe any day.

But I’m getting ahead of myself, let’s do it, eh?

IT’S A CRUEL SUMMER

The studio logos thud with the opening percussion of Cruel Summer and Lady Liberty is seen with some very orange-hue sunshine. It’s hot. It’s summer. Is this a Michael Bay summer blockbuster? Are we about to see a teen summer film trailer? What’s happening? I do love the fact that Bananarama’s Cruel Summer is used here both because it’s such a staple of the 80’s and immediately transports you into that mindset, but also because writer/director Gil Kenan is such a proud “formerly from Reseda” resident that there’s a little but of his Daniel LaRusso Karate Kid attitude present in the trailer here either consciously or unconsciously. You have to think it’s a little conscious given how close attention a scene of teens playing with a soccer ball on the beach gets.

A radio voice tells us that it’s a scorcher out there with heat alerts and record breaking temps on the horizon for New York and New Jersey. Kids are playing with an open hydrant. The Wonder Wheel is spinning with denizens at Coney Island splashing in the water. Eric Steelberg’s cinematography is on full display here as a slice of life has never looked better and more appealing. This idealized scene certainly won’t last, will it?

Sure enough. The song grinds to a halt, as does the Wonder Wheel. Something is amiss.

From the water, a storm cloud closes in and all the swimmers flee as if they’re leaving Amity in a hurry. Heavy Jaws vibes here, and that you know is intentional.

Spikes emerge from the ground and the Wonder Wheel flash freezes. Then comes this frame which: tell me I’m watching a Ghostbusters movie without telling me that I’m watching a Ghostbusters movie:

Chaos as the flash freeze hits Manhattan and the ice spikes emerge from the ground, we’re fully in disaster movie territory as we see a taxi cab impaled from street level. Fortunately for anyone in that cab, it looks to pierce right through the middle. Whew. The rumbling subsides as we follow the street toward a familiar looking building and Elmer Bernstein’s familiar Ghostbusters twinkle plays in the score.

I love this shot for a variety of reasons. Firstly, the camera move is evocative of that teaser trailer for Afterlife that followed the ground of a farm into the open barn to reveal the Ecto-1. Secondly, what an image, right? The Ghostbusters are surrounded. Claustrophobically closed in by the ice and spikes. The threat is visual. It’s overwhelming.

Hit It

The screen dips to black and we hear an engine rev. Could it be? You’re damn right it could be.

The Ecto-1 peels out, pulling off a full U-Turn at top speed and knocking over some trademark NYC garbage in the process. I’ve seen some criticism mainly on forums that the Ecto-1 in the original two films was slow and lumbering and it’s jarring to them to see the car pulling these high speed maneuvers. And, while I completely agree that the coughing and chunky Ecto of the 80’s was the car’s personality at that point in time, the car has obviously been souped up since the 90’s. Even if it was left to rot in a barn, a gearhead like Ray and someone who loves the car like Winston would have been futzing with that thing every day for decades. People change, so can cars. And the energy and excitement that a full-speed Ecto can provide for a film gives it a dynamic that harkens back to The Real Ghostbusters which we’ve learned from Kumail Nanjiani was a touchstone for this film and the filmmakers.

The Death Chill

The trailer kicks into high gear as we hear Patton Oswalt’s new character explain that for the first time, someone froze to death in New York City in July. Phoebe, in full (snow covered) Ghostbusting gear, stands next to the firepole in a darkened and ominous firehouse. Trevor, Lucky, and James Acaster’s new character stand side-by-side looking at something unseen. A very dapper looking gentlemen is suspended in frozen animation. Callie head turns with concern, also standing in what looks like the garage bay of the firehouse.

An apartment door bursts open having been frozen as Phoebe - standing next to Podcast who is seen for the first time asks, “What is it?” And, after a quick hero shot of Kumail’s new character, the answer comes from the one and only Ray Stantz. It’s the death chill.

As Ray gives us the exposition that you are literally scared to death and the last thing you see is your eyes freezing, the trailer rapid fires amazing and tantalizing imagery including a backdraft puff of smoke sucking back through the crack of a door, a hero shot of Paul Rudd’s returning Gary Grooberson, Winston Zeddemore and Peter Venkman, suited up and standing in front of the Ecto looking at an unseen threat, and one of the New York Public Library’s iconic lions snarling and roaring at what looks to be Ray based on the denim shirt he’s been wearing since 1984. Ha!

I Think We’re Going to Have to Put a Little Overtime Into This One

If ever Ray Parker Jr.’s theme song was going to kick in and we see flashes of the team saving the day, now would be about the time you expect it to happen. But this is, after all, just a teaser trailer and both of those particulars are saved for another occasion. Instead, a quick and violent shot of the firehouse doors being ripped away as we look over the shoulder of a couple of busters (and is someone holding some sort of new handheld piece of gear on the left? Dude. Can’t wait to see what that is.)

The street buckles and tears and threatens both our heroes and the Ecto-1. Trevor, Callie, and Gary are pinned against a wall in the firehouse with the ice spikes closing dangerously close to them. The wall around the containment unit cracks and shakes, threatening to collapse (and does that mean another containment breach could be possible?).

Bathed in ominous red light in a shot that looks straight out of a tense moment from James Cameron’s Aliens, Lucky appears to be in a bit of a pickle. From behind, we see a gnarly looking creature of some sort, perhaps the new big-bad, locking a broken horn into the socket on the side of its head. Oh man, is that creature design cool and we’re not even seeing the full breadth of it, I’m sure.

More flashes. James Acaster’s new character, surrounded by darkness and using a flashlight to illuminate something (and wearing one of the much touted by fans’ parkas, more on that in a second). Gary, Callie and Phoebe all suited up and trying to keep warm (love the turtleneck and gloves look with the flightsuit that Callie is sporting). Patton Oswalt slams an elevator gate as he escorts Ray, Phoebe and Podcast somewhere unknown. And perhaps one of my favorite and very mysterious shots in the trailer, Kumail’s character opening what looks to be a false wall in a pantry closet to reveal a secret room. I love a good secret passageway. One of these days, when I win the lottery, I’m going to have a basement with all sorts of cool secret doors and compartments.

Ray’s explanation of the death chill concludes and we see Lucky, fully suited up, seemingly on the verge of freezing to death and her eyes glaze to a frozen state. Certainly looks perilous for Lucky, could this be the character’s end? Or does someone hopefully come to save the day. Stay tuned until March of next year.

Gary states the obvious, that it sounds like Ray is explaining being literally scared to death. There’s a bit of a call and response here that I think is fully editorial as Gary and Callie are standing in what looks to be the firehouse during the daytime and Patton Oswalt’s character telling us how cool it is looks to be in a darkened room elsewhere. It’s a fun moment that shows both characters’ enthusiasm but a strong possibility these two moments are from two totally different parts of the final film that we’ll see.

Just before the title reveal, Trevor struggles to wield a proton thrower that seems to be amped up to eleven, while sporting one of his notable t-shirt choices - this time an old school YMCA shirt. And then, we see the title for the first time.

I’ll just flat out say it, subtitles to films are difficult. You’re sort of damned if you do, and damned if you don’t. For the same reason parents don’t reveal baby names to the general public before the kid is born, everyone has an opinion on names. A gut reaction. A feeling and opinion that they need to express. Movie titles have come under the same microscope. We’ve heard EVERY tired soap joke about Indiana Jones and the Dial of Destiny, but the title was appropriate to the movie. Clear and to the point.

There’s something to be said for the good ol’ days of sequels where you just flat out said what it was: Back to the Future Part II, Beverly Hills Cop II, Star Trek VI. Also clear and to the point. But as the years progressed, a stigma around numerical titles developed where the higher the number of the film the perception of the quality decreasing became the punchline. Even if it wasn’t the case, adding a numerical value to a film title fell out of fashion and the subtitle became king. It’s also possible that increasingly complex titles started weighing on marketing and advertising and even just public perception of having to know a full title like Star Wars: Episode I - The Phantom Menace. You’ve noticed that even the studios have bailed on the episode titles for Star Wars, opting just to ID them by their subtitle: Star Wars: The Phantom Menace, etc.

All of that to say, Ghostbusters: Frozen Empire has the serial qualities of an old school sci-fi film while also immediately selling and stating what the film is. It’s the Ghostbusters sequel where everything freezes. Clear and to the point. And you can tell they were thinking about a play on words with the Empire State somehow but again — didn’t want to over complicate things. Forum and social banter have suggested, “Why not Ghostbusters: Death Chill?” Which yes, is a pretty evocative title but markets the film a little differently. You could see some parents resistant to taking their kids to a movie about the chill of death.

I love the title and think that it absolutely works. It also really frees up future story telling for the Ghostbusters films where they don’t necessarily have to be so wide in scope. They can be hyper focused on a scenario or threat. It takes the franchise in a great direction, in my opinion.

Okay, okay — what about the last two shots of the teaser. Which are outstanding. After the title reveal there are two more glimpses: one of presumably the big bad of the film and the other of our heroes standing atop the firehouse poised to tackle the threat.

Everyone loves the jackets. I do too. I want one of those things for this winter, that’s for sure. But I also love everything happening in the composition and blocking and pose of the characters here. It screams Shandor Rooftop. I love that Callie is wearing the Ecto-Goggles (tough to tell if they’re the Afterlife variant with the Polaroid camera capabilities) and that Phoebe has filled her grandfather’s shoes vigilantly manning the PKE Meter. You can see slight variations on the barrel of the Particle Thrower that Trevor is holding and — THE JACKETS, I MEAN COME ON. TAKE MY MONEY NOW. PLEASE.

If this composition isn’t part of at least one of the theatrical one-sheet posters, I would frankly be surprised. What a shot.

Final Thoughts

What a teaser. It gives us just enough without giving us too much. There are real stakes here. I’m worried about the futures of several of the characters and several of the inanimate objects like the Ecto and the Firehouse. And visually, I love how this film already looks in-step with the original film and Afterlife, but is opening the color palate and scope up a little bit. But also, how crazy is it that after decades of wondering when a third Ghostbusters film would be released, pouring over the glacial pace at the development of the film and every mention and update, to be sitting here dissecting a teaser trailer for a fifth Ghostbusters movie?

#teaser trailer #trailer breakdown #ghostbusters frozen empire

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ghostbustershq · 8 months

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Let's Build the Fanhome Ecto-1: Issue 29 (Stages 107 through 110)

The build is back!

When Eaglemoss went under just about a year ago in July, I feared the worst for my subscription Ecto-1 build. The kit was a whole lot of fun. And, if you followed along with our builds on the Ghostbusters Interdimensional Crossrip podcast, Chris and I had a great chat every time we would sit and work on our models. It was a double-whammy to have lost the flow of subscription kits and to lose that amazing time with Chris. It sure seemed like a lot of us were going to be stuck with half (or less) built Ecto-1 models.

Enter the good folks at Fanhome, who have taken over the licenses from Eaglemoss and resurrected the subscriptions from the dead. You can now sign up to start from issue one, or pick up from where you may have left off with Eaglemoss and continue via Fanhome. Fanhome has made it super easy to pick which issue you need to begin with and their intuitive website and responsive customer service have been a breath of fresh air.

With the podcast having switched to a more infrequent model, I’ve decided to detail my builds here on the news blog hopefully as reference for those who may need it or for a quick overview for those of you who may be on the fence about joining the club. The model is amazing in quality, and Fanhome gives you all the tools that you need (with a few expendable exceptions like painters tape that I’ll get into a bit later here). If you’re a lot like me and you need 20-30 minutes of downtime to just follow instructions and enter a zen meditative state, this build is for you. It’s just challenging enough to make it fun without being frustrating and, as the end results start to come together, having your own faithful 1:8 scale Ecto sitting on shelf sure is cool as hell.

Fanhome was kind enough to send over a new initial kit, which we’ll be building here on the HQ in the future, but for now - I’m going to pick up with where I left off a year ago, with Issue 29 (Stages 107 through 110), which comprises parts of the left and right rear wheel wells, and the ‘59 Miller Meteor Ecto-1’s iconic red tail fins.

WIth that, let’s crack into it, eh?

When Issue 29 arrived, I cackled with glee. Again, not thinking that this model would ever see completion, getting a box in the mail from Fanhome was a treat. Fanhome sends your monthly subscription in a brilliant purple package, another step beyond the generic mailers that would come from Eaglemoss. The company is really making your monthly shipments a grand event, and it’s pretty cool.

The first thing you’ll notice with this issue’s shipment is that it includes a revised passenger front door. Eaglemoss had mistakenly sent out their kits with a passenger mirror recessed in the initial stage and had been promising a fixed door to those who waited. When it didn’t look like Eaglemoss was coming back, I went ahead and built out the door that I had been sent and attached it to the body of the car — so I’m not entirely sure what to do. Pulling the door off at this point would be a pretty dramatic overhaul. But if I’m going to do it, now’s going to be the chance. I set the revised door aside and… I’ll make that decision later. Worst case, I have an Ecto with a stem for a passenger mirror. Ha!

The door conundrum aside, Stage 107 is pretty straight-forward and a relative breeze. The right rear fender “crown” has just two steps. But key on this one is that the chrome trim at the top of the fin doesn’t attach permanently at this point in the build, so you have to be careful not to lose both it and the rear trim. If you plow through the whole issue, it isn’t that big of a deal. But if you pace yourself out and only do one stage at a time, don’t forget it’s another piece you need to set aside for later. Pro-tip: I have a gallon-sized Ziplock that I set aside which contains only the parts that you’ve set aside for later (things like the steering wheel, etc.). If I know I’m going to have to come back to it later, into the Ziploc it goes.

Stage 108, the Right Rear Reflector and Outer Light Lens is also pretty straightforward and cruises by in a snap. The one thing to look out for on this stage is that the outside inner lens is a very small clear piece that isn’t seated in the tray too well when you open it. Chances are, it will pop out when you open up the package and blends into its surroundings with relative ease. At first, I thought my kit was missing the lens but later discovered it floating in the tray.

Also a curious last step to this stage, you have to replace two screws on either side of the car’s body with flatter machine screws than what were initially installed. I’m thinking this was a course correct for an error that may have popped up earlier in the build. And, when you attach the whole completed part to the body of the car, it actually makes a lot of sense that you need a good flush connection to hold all the plastic pieces against the body of the car.

Stage 109 is where the challenge of this particular issue comes into play. The rear fins have two main pieces with two horizontally mirroring rear tail lights. And, while the assembly of the pieces in this stage isn’t the hardest of steps (that continues to be building the engine at the beginning of the build), the wiring to get the LED wires and bulbs into the tail lights is a bit tricky. You have to pull one of the wires marked R off of your assembled body and wire it into this piece. It took me a bit of trial and error but I found that bending the wire behind the bulb lens slightly to fish the bulb into the housing was a good first step. Then, using the flat back of the supplied tweezers, you can almost shoehorn the bulb into place. The bulb doesn’t seem to go ALL the way into the lens, but it does pop in enough that it won’t shake around or fall out of place.

Once you finally get the two LED bulbs plugged into the lenses, it becomes a matter of snapping everything together into place and then attaching it to the wheel well. This is one of those fun partworks stages where you wish that you had three hands: one to hold all the pieces together, another to push further down the part, and a third hand to be turning the screws to affix everything together. In some instances, a little painter’s tape helps. Or a clamp. But with a couple goes, I was able to snap this all together without additional assistance. Only minor hand cramping. I’m old. It happens. Ha!

With the whole piece assembled, here’s the fun part: attaching it to the main body of the car. Again, after staring at my poor Ecto-1 sitting on the shelf missing wheel wells and these red fins, boy-oh-boy was this gratifying to finally do. It felt like, after a long winter working on a 10,000 piece puzzle, finding the ONE piece that had been missing for months and dropping it into place. There’s quite a bit of hardware that goes into keeping this piece in place, and you have to be careful to thread the wires exactly as they’re shown in the diagram - because they need to snake all the way around the rear of the car and through the left side wheel well also. This is where I definitely recommend a little bit of painters tape to help act as that third hand for you to keep things in place, both during this stage and after. I dropped a little piece of painter’s tape under the cargo door to keep the two wires in place for the next couple stages. Also be sure that you’re using the red tab to keep the wires under the cargo door. Tuck those guys under before you affix the IM screw down.

After quite a bit of screw turning (there’s at least seven IM screws and four NP screws to this stage), I had to flip the body over to take a look and admire. It’s been a long time coming darlin’. You deserve this moment.

The final stage to this issue is a cakewalk. You’re basically prepping to work on the other side of the rear of the car by attaching the skirting to the left rear fending. It’s a quick and easy step that you can set the finished product aside and enjoy the rest of the awesome magazine contents and drop the booklet into your binder. Hopefully after all this time, you still have your binder and the prongs to attach the magazines to them.

All in all, this was a whole lot of fun. After a year and counting of not sitting down to work on the car, I had to shake out a little rust - and realized how over-caffeinated I was with my shaky hands. I’m just so glad to be getting monthly shipments again to finish off this car and finally have what will become one of the crown-jewels in the GBHQ collection.

Our thanks to the good folks at Fanhome for reviving the subscription build, sending us stages for review and for keeping the engine running for us all. If you’d like to start up your subscription, now is the time as they’re only offering new and continued subscriptions for a limited time… presumably because they’re dealing with the limited stock from the Eaglemoss days. So act now if you’re interested and happy building!

#eaglemoss #fanhome #ecto-1 #merchandise #let's build #die-cast model #partworks

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ghostbustershq · 1 year

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Unsung Heroes: Ghostbusters II's Pastrami Sandwich Guy

As has been mentioned countless times on our 300+ episodes of the Interdimensional Crossrip podcast, when you watch a film that is so rich with detail enough, you notice something new almost every time. And so, after viewing five-million three hundred and one of Ghostbusters II, I’d like to present to you the unsung hero in the corner of the frame who now cracks me up every single time that I see him…

Ladies and gentlemen: Pastrami Sandwich Guy.

Pastrami Sandwich Guy commands about a minute worth of screen time. And he chews both his sandwich and the scenery through the entirety. From first frame of celluloid to last, it literally doesn’t matter to this man that the world is coming to a cataclysmic end and chaos reigns around him — he’s finishing his deli, dammit.

With what looks like a delicious pastrami on rye in hand, Pastrami Sandwich Guy epitomizes New York. He does such a great Marx Brothers-like job of listening and watching the action unfolding around him, but the entire time won’t put down his sandwich and certainly won’t cease his slow and methodic mastication. Ben Stein informs us there’s a shell around the museum they can’t dent (holding a photo of Libby’s pedestal)? Pastrami Sandwich Guy observes but continues eating. Hardemeyer is thrown out of the conference room? Pastrami Sandwich Guy tracks him out the door then returns back to lunch. It’s hilarious.

And the best part, as the entire office gathers at the window to watch the sky grown dark with an eclipse and a vortex seemingly swallow the sky whole, who is absent? You guessed it, Pastrami Sandwich Guy can’t be bothered.

Just a brilliant unsung performance by someone probably just making a scale day rate. So who was this mysterious sandwich loving man? I’ve begun my quest to find out.

Best I’ve been able to figure, Pastrami Sandwich Guy got his time under the lights on Thursday, April 27, 1989. The INT. CONFERENCE ROOM scenes were pick ups toward the very end of production on The Burbank Studios lot. For reference, principal photography of Ghostbusters II had wrapped on Wednesday, April 5th. But about a week of pick-ups occurred later in the month, mainly to finish out the final showdown with Vigo.

As we’ve learned over the years, a cameo featuring Eugene Levy as Louis’ cousin Sherman was cut from the film at zero hour, and with it a huge plot hole of Louis asking his cousin to release the Ghostbusters. Not only that, but Hardemeyer receiving his comeuppance by being sucked into the slime wall around the museum had also been cut. This brilliantly rescripted scene smooths out the absence of both plot points, putting the onus on Mayor Lenny to need the Ghostbusters released and also having Hardemeyer thrown out all in one swoop.

Traditionally, only those with speaking or featured roles in the film receive end credits, so it’s tough to figure out who played our sandwich-eating hero. I did some digging into the GBHQ production archives and also came up pretty empty.

While David Margulies (“Mayor of NY”) and Kurt Fuller (“Hardemeyer”) are typed onto the call sheet, several of the actors in the scene are written in as last-minute additions. Ben Stein is written on the call sheet as “Public Works Official” as is Erik Holland and Philip Baker Hall both as Fire and Police Commissioners. My only guess here is that, because these were pick-up days, the cast of players outside of Lenny and Hardemeyer were in constant flux. Most likely, Ivan Reitman had to call in a handful of favors to his friends to come play that Thursday.

Why do I think that’s the case? The first thing filmed that Thursday was a pick-up shot with a dock supervisor witnessing the arrival of the Titanic, played by long-time Ivan Reitman friend and would-be Stripes star Cheech Marin. Who is also written by hand onto the call sheet.

So the best I can figure is that Pastrami Sandwich Guy was a family friend of Ivan’s, background player from Central Casting, or was someone close to the production who stepped in to fill out the scene. Outside of someone out there identifying him, or getting my hands on a Day Out of Days or other production materials that may have shown who this wonderful man was on the day, it will remain a mystery. But whether we know his real name or not, the man is brilliant and deserves a curtain call.

Anyone out there know who he might be? In the meantime, check out the clip below to enjoy Pastrami Sandwich Guy - long may he enjoy lunch.

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#unsung heroes #ghostbusters ii #pastrami guy #easter eggs

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ghostbustershq · 1 year

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Become a Ghostbuster Yourself Through Hologate's New VR Experience

Ghostbusters: VR Academy, which was teased at last year’s Ghostbusters Day “Ecto-Fest” is now live and ready for you to experience at 450+ Hologate locations across the world. Not to be confused with a Sony-based VR project that is also still in the works, VR Academy is a location-based multi-level experience akin to a similar offering from the VOID several years ago.

To find a location where you can enroll in the Ghostbusters: VR Academy, hit the link at Hologate and stay tuned to GBHQ for a first-hand report when we’re able to attend!

#hologate #ghostbusters vr academy #virtual reality

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ghostbustershq · 1 year

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Kumail Nanjiani, Patton Oswalt, Emily Lind and James Acaster Join the Untitled Ghostbusters Afterlife Sequel

Deadline broke the exclusive this morning that fan-favorites Kumail Nanjiani and Patton Oswalt have boarded Gil Kenan’s upcoming sequel to Ghostbusters: Afterlife. In addition Emily Lind and James Acaster have joined the cast. All in unspecified roles. The sequel is currently in production in the UK, having started at the beginning of this week.

Nanjiani most recently has tackled both the Star Wars and Marvel Cinematic Universes in Obi-Wan Kenobi and Eternals respectively. Fans of his will know he and his wife’s deep love for the paranormal and the X-Files, having run a long series of podcasts and even appearing in the most recent revival of the series. Patton Oswalt previously worked with Jason Reitman on Young Adult. Comedian James Acaster is relatively new to large films, having just had a role in the Amazon Prime retelling of Cinderella. Emily Lind is a rising star, not unlike McKenna Grace having landed several high profile roles in Gossip Girl and Doctor Sleep.

The addition of Nanjiani, Oswalt and Acaster particularly are a boon for the film, knowing all are prolific and quick on their feet comedians who are also talented writers and creators in their own right.

The Deadline article also confirms, as if there were any doubt, that Paul Rudd and Carrie Coon are returning for the sequel.

#kumail nanjiani #patton oswalt #emily lind #james acaster #gil kenan #jason reitman

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ghostbustershq · 2 years

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Ghostbusters Afterlife Sequel Has a Date: December 20, 2023

Variety, Hollywood Reporter and Deadline are all reporting that Sony Pictures is staking a claim on December 20, 2023 for the release of Jason Reitman and Gil Kenan’s follow-up to Ghostbusters: Afterlife and as-of-yet Untitled Ghostbusters 4 film. As announced at Ghostbusters Day’s “Ecto-Fest,” the film will begin in New York City at the beloved Firehouse, but not much beyond that is known about the film.

This is huge news in the sense that it means the production team is lightspeed toward a release date that is less than 600 days away. But also great news for Ghostbusters fans in the sense that the wait for another live-action Ghostbusters film will not be that far away.

It also means 2023 will be the year of Ghostbusters, with all of the announcements from Ghostbusters Day coming to fruition and capping the end of the year with a brand-new feature film adventure.

The holiday December 20th release date is currently occupied by Paramount’s announced Star Trek film, Disney/Lucasfilm’s Star Wars: Rogue Squadron film, and the musical adaptation of The Color Purple.

#ghostbusters 4 #jason reitman #gil kenan #sony pictures

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ghostbustershq · 2 years

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Ghostbusters Day 2022 Recap

Sony Pictures and Ghost Corps put on quite a show last night, as a Marvel Studios-like presentation and screening kicked off the first annual (yes, they’ve got the drive to do this once a year) Ecto-Fest celebration. Cast and crew from the films, Sony Pictures employees, lucky fans, and members of the press were all on-hand for the festivities which included announcements, teases, and a booming outdoor encore screening of Ghostbusters: Afterlife.

The evening began with a wonderful behind the scenes featurette with b-roll footage of Ernie Hudson arriving at the Ladder 23 filming location in downtown Los Angeles to film the “end tag” scene from Afterlife.

The featurette served as an introduction for the man who needs no introduction, Ernie Hudson himself. Dressed in a power suit that would make the chairman of Zeddemore Industries proud, Hudson revealed that the Sony lot will forever remember Ivan Reitman by naming the street in which Ghost Corps and the Ecto-1 are parked “Ivan Reitman Way.” Hudson then teased that the future for Ghostbusters was in good hands and, “I’m not allowed to tell you much more than that, but rest assured, we have a lot of Ghostbusting ahead. I’ll just say, if need be, the flight suit still fits.”

With that, the floor was turned over to Hasbro where Jenny Whitlock unveiled a limited to two edition of an Ivan Reitman Plasma Series action figure. One of which will reside at Ghost Corps’ office in Culver City, and the second will be auctioned off for Children’s Hospital of Los Angeles at a later date.

Following that, Whitlock gave backers a glimpse at progress for the Spengler Proton Pack HasLab that was offered up for pre-sale crowd funding. The biggest reveals are that the Pack will weigh a mere 15-pounds and will be light on fans’ backs, includes real metal parts including the switches and Clippard Valves, and the Spengler Journal that was offered as an incentive will be double the page count than expected. A larger update is available on the Hasbro Pulse blog with photos of the most recent prototypes and more.

Next up was the head of Sony Pictures VR, Jake Zim (with special guest Logan Kim) who offered updates on their Meta VR experience and unveiled a new installation VR arcade called “Ghostbusters VR Academy,” which will be a two-story, two-part experience that allows players to train to be Ghostbusters and drive the Ecto-1 like a pro. The first part of the experience is a first-person perspective where you don a Proton Pack with a haptic feedback vest and capture ghosts in a team of four players. Following that, players head downstairs where they’re put in the driver’s seat for a simulated joyride of a new hover-prototype Ecto-1 through three levels of competition. The installation will be available at 400+ Hologate locations around the world later this year.

Zim and Kim yielded the floor to a filmed message from Dan Aykroyd himself, who taped a message from his family farmhouse. It is the same family farmhouse where his spiritualist great-grandfather served as the inspiration for Ghostbusters. Aykroyd teased that we’re all invested in the future of Ghostbusters, not just from an intellectual property and franchise perspective, but in the story that Afterlife opened up as well. We want to know what happened to Phoebe Spengler following the events at the Dirt Farm. We want to know what happened to the Ghostbusters in the 1990’s and the time leading up to Afterlife. And with that, he was proud to announce the “spectral stewards and trusted keepers of the Cadillac keys” to the stage: Jason Reitman and Gil Kenan.

Reitman and Kenan had many announcements, all of which the running theme was inner-connectivity and a cohesive story that will fill in gaps, move the story into the future, and entertain Ghostbusters fans for years to come.

First up, the pair gave an update on the upcoming Ghostbusters: Spirits Unleashed console video game, which will allow players to compete either as Ghostbusters or as the ghosts themselves. Illfonic is working hard on the game for release later this year on consoles and PC.

Next, the first of the big reveals: Ghostbusters is returning to comics. Dark Horse Comics is the new license partner for Ghostbusters and Reitman and Kenan announced they are overseeing an in-canon mini-series that will be released at some point next year. A Variety article posted today says the Dark Horse series will bridge the gap between Afterlife and the upcoming sequel (more on that momentarily).

The duo then went on to announce the Ghostbusters animated feature film collaboration with Sony Pictures Animation has a creative team working hard on its development, and that the project was near and dear to the late Ivan Reitman’s heart. “This was a passion project of my father’s and it’s easy to understand why. The world of the unknown can only be properly explored through the limitless reach of animation,“ Jason Reitman told the crowd. Per Variety, Chris Prynoski (executive producer, “Beavis and Butt-Head Do the Universe”) and Jennifer Kluska (“Hotel Transylvania: Transformania”) are set to direct, with Brenda Hsueh (supervising producer, “Disjointed”) on board to write.

More animation news came after that, with an extension of the announcement from this morning that Sony and Ghost Corps have partnered with Netflix to create a new animated Ghostbusters series. While not much more was revealed about the new show, Reitman and Kenan assured fans that the new series will navigate an unexplored era of the Ghostbusters canon, which will be intriguing. “Between gaming, comics, television, and movies, we are going to tell the untold history of Ghostbusters while reaching into the future with characters you haven’t met from places you haven’t gone,” said Kenan on the world’s they are exploring in building out the universe.

Last, but certainly not least, the creative pair provided an update on the next live action Ghostbusters film that they are feverishly writing now. Reitman reminded fans that the codename for Ghostbusters: Afterlife was Rust City, a security title that became very clear when the film was released as both the geographical location of where the story took place, but also symbolic of the characters and world we knew. Well, now that the rust has been shaken, Reitman and Kenan gleefully teased that the security title they’ve been using for the new film is Firehouse. While we’re not clear on what the story will be, the two proudly announced that Afterlife ended with the Ecto-1 pulling into the firehouse bay and that’s where the next story will start: back in New York City. Though many news blogs and pundits my scoff at the announcement of a film’s code name, the announcement spoke volumes: Ghostbusters will be back in New York, back in the firehouse, and ready to bust some heads. In a spiritual sense, of course.

The evening was capped off with an outdoor screening of Ghostbusters: Afterlife in the cool Los Angeles air, with booming sound and a rowdy audience cheering and engaged throughout.

If this is the first of many Ecto-Fests to come, one can only imagine the scope and announcements and reveals that may be in store June of 2023. Until then, we let our imaginations run wild and hang on tight for the future. It’s going to be a wild ride.

#hologate #vr #sony pictures #ghost corps #hasbro #hasbro pulse #hasbro plasma series #spengler pack

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ghostbustershq · 2 years

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Ghostbusters Returns to Animation on Netflix

Happy Ghostbusters Day, everyone! This morning, Variety exclusively revealed that a new Ghostbusters animated series is in the works for release on Netflix, and the series will be overseen by the minds behind Ghostbusters: Afterlife, producers Jason Reitman and Gil Kenan. It should be noted that the series is still in development, and details are sparse.

The announcement comes early in the morning on Ghostbusters Day, the annual celebration of all things Ghostbusters which has quickly come to also mean reveals and announcements for the future of the franchise from those at Ghost Corps and their licensing partners. An event will be held on the Sony Pictures Studios lot this evening, where fans have been invited through the chocolate factory doors once more with promise of more reveals and a special screening of Ghostbusters: Afterlife.

Jason Reitman also posted a heartfelt greeting to fans on social media this morning, leaning up against the original Ecto-1 in front of Ghost Corps:

I have a feeling there’s much more in store for us fans today, so be sure to stay tuned here to the GBHQ main page and on our socials via Twitter and Instagram for all the up-to-the-minute details!

#ghostbusters animated series #Jason reitman #gil kenan #netflix

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ghostbustershq · 2 years

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Remembering Ivan Reitman (1946-2022)

Devastating news today as we have learned Ivan Reitman has passed away at the age of 75. Affectionately known as the “man who loved to laugh,” notoriously so as comedians like Bill Murray would rib him for hearing his laughter during takes, Reitman leaves behind a filmography that defined a popular culture zeitgeist, collaboration with the greatest comedians of a generation, and a wonderful family who continue his talents for storytelling for a new generation.

“Our family is grieving the unexpected loss of a husband, father, and grandfather who taught us to always seek the magic in life,” children Jason Reitman, Catherine Reitman and Caroline Reitman said in a joint statement. “We take comfort that his work as a filmmaker brought laughter and happiness to countless others around the world. While we mourn privately, we hope those who knew him through his films will remember him always.”

Reitman loved to tell stories about outsiders, the misfits like the kids in Meatballs, and the Delta House of Animal House, new recruits in Stripes, and an unsuspecting man called to be President in Dave. He loved his homes in Toronto and Montecito, and took great pride in both of them. His family land was donated to become the Toronto Bell Lightbox theater, host to the Toronto International Film Festival. He loved to collaborate with new and upcoming talents, and in later years boosted films like Old School and most recently guided his own son Jason on the production of Ghostbusters: Afterlife.

I had the pleasure of meeting Ivan on several occasions. People like Ivan meet new faces all the time, and I would constantly re-introduce myself every time we’d meet. Finally after the fifth or sixth time shaking his hand and saying, “Hi Ivan, I’m Troy,” he wrinkled his brow and looked at me like I was nuts and said, “Yeah, I know who you are.” It was the strangest feeling to have someone that you’ve looked up to and admired for so long even just be aware of your existence, let alone know your name. I think it was indicative of just how much he appreciated fans of his work, and fellow fans of comedy, art, and just telling good stories.

This is incredibly tough, and words just aren’t coming sitting here trying to type this. I’m sure I’ll be able to articulate things far better after processing a bit. If there’s one consolation, Ivan was able to see the success of Ghostbusters: Afterlife before he passed. And he was there to tell a deeply personal and deeply moving story with his own son, and to have heard the overwhelmingly positive and emotional response from audiences.

Here’s more from the Associated Press:

Known for big, bawdy comedies that caught the spirit of their time, Reitman’s big break came with the raucous, college fraternity sendup “National Lampoon’s Animal House,” which he produced. He directed Bill Murray in his first starring role in “Meatballs” and then again in “Stripes,” but his most significant success came with 1984’s “Ghostbusters.”

Not only did the irreverent supernatural comedy starring Murray, Dan Aykroyd, Harold Ramis, Ernie Hudson, Sigourney Weaver and Rick Moranis gross nearly $300 million worldwide, it earned two Oscar nominations, spawned a veritable franchise, including spinoffs, television shows and a new movie, “Ghostbusters: Afterlife,” that opened this last year. His son, filmmaker Jason Reitman directed.

Among other notable films he directed are “Twins,” “Kindergarten Cop,” “Dave,” “Junior” and “Six Days, Seven Nights.” He also produced “Beethoven,” “Old School” and “EuroTrip,” and many others, including several for his son.

He was born in Komarmo, Czechoslovakia, in 1946 where his father owned the country’s biggest vinegar factory. When the communists began imprisoning capitalists after the war, the Reitmans decided to escape, when Ivan Reitman was only 4. They traveled in the nailed-down hold of a barge headed for Vienna.

“I remember flashes of scenes,” Reitman told the AP in 1979. “Later they told me about how they gave me a couple of sleeping pills so I wouldn’t make any noise. I was so knocked out that I slept with my eyes open. My parents were afraid I was dead.”

The Reitmans joined a relative in Toronto, where Ivan displayed his show biz inclinations: starting a puppet theater, entertaining at summer camps, playing coffee houses with a folk music group. He studied music and drama at McMaster University in Hamilton, Ontario, and began making movie shorts.

With friends and $12,000, Reitman made a nine-day movie, “Cannibal Girls,” which American International agreed to release. He produced on a $500 budget a weekly TV revue, “Greed,” with Dan Aykroyd, and became associated with the Lampoon group in its off-Broadway revue that featured John Belushi, Gilda Radner and Murray. That soon led to “Animal House.”

By the time 1990’s “Kindergarten Cop” came around, Reitman had established himself as the most successful comedy director in history. Though not even being the father of three children could have prepared him for the arduous task of directing 30 children between the ages of 4 and 7 in the Arnold Schwarzenegger comedy.

Reitman slowed down as a director after “Six Days, Seven Nights” — only four films would follow “Evolution,” “My Super Ex-Girlfriend,” “No Strings Attached” and “Draft Day,” from 2014.

But he continued producing and, with “Ghostbusters: Afterlife,” even found himself on the press circuit with his son, providing emotional moments for both with the passing of the baton.

When asked late last year why the 1984 film continued to fascinate, Reitman told the AP that it was hard to define.

“I always had a sort of sincere approach to the comedy,” he said. “I took it seriously even though, it was a horror movie and a comedy, I felt you had to sort of deal with it in a kind of realistic and honest way.”

#ivan reitman

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ghostbustershq · 2 years

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Remembering Douglas Trumbull (1942 - 2022)

Douglas Trumbull has passed away at the age of 79, after a major two-year battle with cancer, a brain tumor and a stroke.

Trumbull’s name should be familiar to film and visual effects fans. Ghostbusters fans may not know his contribution to the film franchise that they’ve come to love. In fact, it’s quite possible that without Douglas Trumbull’s involvement in the founding of EEG and Boss FIlms, many of the iconic elements of the original Ghostbusters we can close our eyes and picture could have been radically different.

In a wonderful article from American Cinematographer, Trumbull’s involvement from the ground floor was perfectly described:

While Richard Edlund, ASC was still working on Return of the Jedi, he participated in a special effects seminar sponsored by Women In Film in Los Angeles. On the panel with him was Douglas Trumbull, and in the course of their conversation, Trumbull asked Edlund if he would be interested in joining Richard Yuricich, ASC and himself as a partner in their company Entertainment Effects Group (EEG). Trumbull was interested in getting out of effects work to concentrate on directing and developing his Showscan process. Yuricich likewise wanted to be freer to work as a director of photography.

Edlund had known Trumbull for many years, and they had talked before about working together, but the occasion had not arisen. Edlund was one of the first people involved in the special effects work on Star Wars and the development of the Industrial Light and Magic effects facility. He had, as he puts it, “been on a roll” for several years, garnering a handful of Oscars, nominations, and Scientific and Technical awards for his work on Star Wars, The Empire Strikes Back, Raiders of the Lost Ark and Poltergeist. He felt very lucky and was glad to be able to see the Star Wars trilogy through to its culmination in Return of the Jedi, but he was anxious to return to Los Angeles after living and working for so many years in Marin County. “I’m an Angeleno,” he comments. “By the time I started working on Jedi, I had spent a great deal of time under the Lucasfilm umbrella, and I wanted to go out and get wet myself. I felt that once I had finished Jedi, my job was essentially done.”

Edlund made a deal with Trumbull and Yuricich whereby he became a partner in EEG and the exclusive visual effects director for the company. Another instrument, Boss Film Corporation (BFC), was formed to facilitate working relationships with studios, and almost immediately two major projects surfaced within a week of each other. They were 2010 (the sequel to 2001: A Space Odyssey) and Ghostbusters, and it wasn’t long before there were as many as 163 people working at EEG/BFC on both these pictures. Many of the people came down from ILM to join Edlund in the new company and many of the others were people who had worked with EEG before. “It is,” he says, “an incredible talent pool, led by a group of 20 or so who function as a hunting band, a tight-knit group who are all going after the same goal and who constantly support each other.”

Trumbull was the son of Hollywood royalty, directed the films Silent Running and Brainstorm, and left his stamp on incredible visuals in 2001: A Space Odyssey, Star Trek: The Motion Picture, Blade Runner, and Close Encounters of the Third Kind. His work with miniatures, trick photography, compositing and optical printing, and filming cloud tanks became replicated and mimicked by films for decades. If you enjoyed Back to the Future: The Ride at Universal Studios, Trumbull was instrumental in developing the technology and the technique utilized for the ride film.

Trumbull left Hollywood behind to continue his research and development work on emerging technologies, particularly in 3D and high-framerate projection. I actually had the unique opportunity to meet and talk with Trumbull back in 2015 that you can read more about here if you’re interested. In truth, it’s been difficult to even sit and complete this write-up for just how saddened I am by his passing. He was a visionary who loved film and the craft of creating it.

I’d highly encourage everyone to read the amazing obituary written by the Visual Effects Society, then spend some time watching through Trumbull’s amazing filmography in remembrance.

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ghostbustershq · 2 years

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Ghostbusters Afterlife is Coming Home Soon and the Original Ghostbusters Gets New Features

Sony Pictures Home Entertainment revealed their plans for the home video release of Jason Reitman’s Ghostbusters Afterlife, and you better sit down because along with the release of the new film there’s a treasure trove of new archival special features for the original two films on their way!

First up, Ghostbusters Afterlife will be hitting digital and VOD purchase services next week on January 4th! So if you can’t wait to get another screening in, or you were unable to see the film in theaters, the great news is that you won’t have to wait much longer. Afterlife is getting the full special edition treatment, with behind the scenes features, deleted scenes, and more. Sadly a commentary with Jason Reitman or any of his cast and crew doesn’t seem to be listed.

Next, the even better news: Afterlife hits DVD/Blu-ray on February 1st in a variety of packages… the most notable of which is the Ultimate Collection set, which looks to be available at Amazon, Wal-Mart and Best Buy which includes Ghostbusters, Ghostbusters II, and Ghostbusters Afterlife PLUS two additional discs of bonus features. One of which includes the early workprint version of the original 1984 Ghostbusters found by Sheldon Kahn during pre-production of Ghostbusters Afterlife. The full “Preview Cut” of the film also includes a commentary by Ivan Reitman and Sheldon Kahn himself, and it stands to reason that it’ll be a revealing look at the making of the film (plus include a lot of things we may never have seen before). If that weren’t enticing enough, newly unearthed and never before seen deleted scenes are included for all three films (assuming many of the scenes found at Fan Fest will be included here), tons of behind the scenes documentaries, and a whole lot more! And hey, even the fan commentary that myself, Chris Stewart, Sean Bishop and Eric Reich recorded for the last anniversary set is included. It’s safe to say that this will be the most definitive box set for all of the films to date.

Here’s more information in the full press release from Sony below:

From director Jason Reitman and producer Ivan Reitman comes the next chapter in the original Ghostbusters universe. In Ghostbusters: Afterlife, when a single mom and her two kids arrive in a small town, they begin to discover their connection to the original Ghostbusters and the secret legacy their grandfather, an original Ghostbuster, left behind. The film is written by Gil Kenan & Jason Reitman.

Featuring GHOSTBUSTERS, GHOSTBUSTERS II and GHOSTBUSTERS: AFTERLIFE on 4K Ultra HD & Blu-ray, plus two discs full of special features! Includes over 20 hours of rare behind-the-scenes and must-see archival gems, including the full Preview Cut of the original movie and much, much more! Presented in collectible “ghost trap” packaging with lights, and includes a full 220-page reprint of the rare 1985 “Making GHOSTBUSTERS” book! Also includes digital versions of GHOSTBUSTERS, GHOSTBUSTERS II, GHOSTBUSTERS: ANSWER THE CALL and GHOSTBUSTERS: AFTERLIFE.

BONUS MATERIALS

GHOSTBUSTERS: AFTERLIFE

BLU-RAY™, 4K Ultra HD™ and Digital

We Got One! Easter Eggs Revealed

Ghostbusters: A Look Back

A Look Ahead

Bringing Ecto-1 Back to Life

The Gearhead’s Guide to Ghostbusters Gadgets

Special Effects: The Ghosts of Afterlife

Deleted Scene: Is It Ever Too Late?

Summoning the Spirit: Making Ghostbusters: Afterlife

DVD

Summoning the Spirit: Making Ghostbusters: Afterlife

THE GHOSTBUSTERS ULTIMATE COLLECTION

GHOSTBUSTERS 4K ULTRA HD

Feature presented in 4K resolution with Dolby Vision

Dolby Atmos + 5.1 + Theatrical Stereo

GHOSTBUSTERS BLU-RAY

Feature presented in high definition, from the 4K master

5.1 + Theatrical Stereo

Special Features:

Commentary Featuring Director Ivan Reitman, Star/Co-Writer Harold Ramis and Associate Producer Joe Medjuck

Fan Commentary Moderated by Ghost Corps’ Eric Reich

Slimer Mode Picture-in-Picture Track

GHOSTBUSTERS II 4K ULTRA HD

Feature presented in 4K resolution with Dolby Vision

Dolby Atmos + 5.1 + Theatrical Stereo

GHOSTBUSTERS II BLU-RAY

Feature presented in high definition, from the 4K master

5.1 + Theatrical Stereo

Special Feature:

Commentary Featuring Director Ivan Reitman, Star/Co-Writer Dan Aykroyd and Executive Producer Joe Medjuck

GHOSTBUSTERS: AFTERLIFE 4K ULTRA HD

Feature presented in 4K resolution with Dolby Vision

Dolby Atmos

GHOSTBUSTERS: AFTERLIFE BLU-RAY

Feature presented in high definition

Includes all special features from the standalone Blu-ray

SPECIAL FEATURES DISC 1 – GHOSTBUSTERS (1984)

NEW: Rare 114-minute Preview Cut of the Film (in Standard Definition) – an unearthed early cut of the film with alternate takes, additional scenes, early effects and more. A unique must-see experience for any Ghostbusters fan!

With optional commentary by Associate Producer Joe Medjuck and Editor Sheldon Kahn

NEW: “Reitman Squared” Scene Commentary – a look at two scenes from the film with Ivan & Jason Reitman

NEW: Dana’s Lost Auditions – eight auditions for the role of Dana Barrett, featuring Denise Crosby, Kelly LeBrock and more!

Special thanks to Brandon Kleyla

NEW: “Ghostbusters: Behind Closed Doors” Documentary – a 90-minute documentary about the making of Ghostbusters and the history of the franchise!

NEW: Ghostbusters Dailies – over an hour of raw dailies, encompassing 7 scenes from the film

NEW: Full TV Broadcast Version of the Film (in Standard Definition) – featuring alternate TV-safe takes

16 Deleted Scenes

TV Commercial from the Film + Commercial Outtakes

1984 ShoWest Exhibitor Reel

“A Moment With the Stars” Original EPK Featurette

1984 Featurette

SFX Team Featurette

Cast and Crew Featurette

Who You Gonna Call: A Ghostbusters Retrospective

Ecto-1: Resurrecting the Classic Car

Ruth Oliver’s Library Ghost Scream Test

Multi-Angle Explorations

Storyboard Comparisons

Photo Galleries

“Ghostbusters” Music Video by Ray Parker, Jr.

Theatrical Trailers & Promo

SPECIAL FEATURES DISC 2 – GHOSTBUSTERS II & GHOSTBUSTERS: AFTERLIFE

GHOSTBUSTERS II

NEW: “Reitman Squared” Scene Commentary – a look at two scenes from the film with Ivan & Jason Reitman

NEW: 19 Deleted Scenes – a collection of never-before-seen deleted scenes!

NEW: Ghostbusters II Soundtrack Promo – a scene from the film with commentary from composer Randy Edelman

NEW: Full TV Broadcast Version of the Film (in Standard Definition) – featuring alternate TV-safe takes

7 Additional Deleted Scenes

“The Oprah Winfrey Show: Cast of Ghostbusters II” – June 1989

Time Is But A Window: Ghostbusters II and Beyond

Ghostbusters II Original EPK

“On Our Own” Music Video by Bobby Brown

Theatrical Trailers

GHOSTBUSTERS: AFTERLIFE

Jason’s Sneak Peek from Set

Theatrical Trailers

#blu-ray #home video #sony pictures home entertainment #ghostbusters ultimate collection #commentary #deleted scenes #workprint version

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ghostbustershq · 2 years

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Ghostbusers Afterlife Now in Theaters and #1 at the Box Office!

After decades of will it/won’t it (particularly on this site beginning in the early 1990’s), “Ghostbusters III” is now finally in theaters and it is wonderful! The extension of the original Ghostbusters films, Ghostbusters: Afterlife is full of heart and emotion. It continues the story that began in 1984. And it has wowed audiences earning the number one box office spot with a stronger-than-predicted $44 million in 4,315 domestic theater ticket sales, and even more internationally.

It’s easy to say that Ghostbusters: Afterlife had a Herculean task of being a bridge, a bookend, and a launchpad. And somehow was able to juggle all three masterfully - bridging the films from the 80’s to a new generation, bookending a story that began and closes out in 2021, and acts as a launchpad for countless stories to come.

Variety, among other industry trades, sees the strong box office, the warm audience reception, and the potential for stories to come as a signal that the franchise has a strong future. Combined with strong merchandise sales including Hasbro Pulse’s recent crowd funded 1:1 Spengler Proton Pack reaching its goal and continuing to stretch, promotional tie-ins including a limited re-release of Ecto-Cooler for events and a transformation of the iconic Randy’s Donut facade in Los Angeles, and more show the future being bright.

So what’s next?

The Thanksgiving holiday week and the word of mouth will be a strong indication of the continued success of the film. I’ve maintained that Ghostbusters: Afterlife is like a good album that you listen to for the first time and can’t absorb everything. It just continues getting better upon repeated viewing. So make sure to go see it in the theaters and enjoy it on the big screen as much as you can. Home video and VOD sales will also be a good indication of the popularity of the franchise with the lingering pandemic and many people still unable to get into the theaters. Note how there was a ten-fold increase in popularity of Marvel Studios’ Shang-Chi as soon as it became available on VOD and the Disney+ streaming platforms to a larger audience that didn’t catch it in theaters.

Long story short, it’s a good time to be a longtime fan of Ghostbusters and the perfect time to be a new fan experiencing the wonder and the wish fulfillment of the franchise for the first time. I have a feeling we ain’t seen nothing yet.

#ghostbusters afterlife #ghostbusters (2020)#box office

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ghostbustershq · 3 years

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Ghostbusters II Score Album Notes and Analysis

I love film scores. Nothing can evoke imagery and memories from your favorite films like sitting and listening to a well-crafted film score. Which is why it’s been such a treat to now have in my hands the score to the 1989 film Ghostbusters II and to hear all the nuances and decisions that were made that aren’t necessarily audible in the film (nor the unofficial bootleg releases we’ve all listened to repeatedly over the course of a few decades).

Randy Edelman’s Ghostbusters II score is often overlooked. Elmer Bernstein’s original film score usually taking the majority of the spotlight. But upon first listenings of this incredible remastered score, the themes that present themselves are very apparent. Peter has a recurring theme that gives him swagger and confidence. Dana has a lovely theme to counter that, which is thoughtful and measured (and quite a bit different than that which Bernstein presented in the first film that was far more romantic). There’s a Ghostbusters “hero theme” that’s present for when all four of them gather together. More on the themes and motifs here as they become clearer.

So, as I listen to the score (and hopefully get more insight via liner and production notes to come), I’ll be adding to this dossier of each of the tracks. Since so much of listening to film scores is hearing them over and over and becoming more familiar with them, it’s absolutely impossible to create a complete write up in just a few sittings.

So keep visiting for additional updates and thoughts as they come!

A Few Friends Save Manhattan

This definitely is a one-to-one lift of the end credits melody that closes out the final moments of the credits in the film.

A Baby Carriage Meets Heavy Traffic

Being that the score is so heavily featured in the opening moments of the film, it’s great to hear the urgency and the tension as it was composed here, and how the sound design and effects also helped punctuate some of the musical choices made. I’d love to line this one up with the film to see if any music edits were made in the film that aren’t present here.

Venkman's 6th Ave. Strut

To my ear, this is one of the newly recorded tracks mentioned in the press release. It feels like a composed and orchestrated concert version of the Venkman theme that’s heard throughout the film (and highlights Randy Edelman’s incredible piano talents).

Order in the Court

A short quote of the Ray Parker Jr. theme around 2:30 as the courtroom gets eerie and the Ghostbusters search for the Scoleri Brothers that isn’t heard in the final film’s mix. As well as a few instances of Oscar and Dana’s themes at the end of the track that sound to me like the “You’re short, your belly button sticks out, and you’re a terrible burden on your poor mother.”

He's Got Carpathian Eyes

Notes and thoughts to come.

The Sensitive Side of Dana

Another cue that sounds like it might have been intended as a concert version, particularly with a lovely string introduction that leads into the Dana theme heard throughout the film starting around the one minute mark. Particularly since this main theme is played on the piano, guessing that this was one of the newly recorded tracks as well.

In Liberty's Shadow

Notes and thoughts to come. Starts with the heroic and wonderful moment as the Ghostbusters approach the “giant Jell-O mold” of the museum and find that their proton beams are ineffective. This cue is such a rollercoaster of emotion from heroic, to failure, to inspiration, to a quote of almost patriotism as the heroes land on Liberty Island. I’m also excited to figure out just how many different themes we can now sense a repeated pattern of with this presentation.

Rooftop Broom Kidnap

Notes and thoughts to come. I know that the title of this one trips many people up, is it possible that Janosz was going to appear on a broom stick rather than as a ghostly nanny at one point in the production?

The Scoleri Brothers

Notes and thoughts to come.

Oscar is Quietly Surrounded

Notes and thoughts to come.

A Slime Darkened Doorway

Notes and thoughts to come.

One Leaky Sewer Faucet

Notes and thoughts to come. This one is a fun enigma that I look forward to learning more about. Is this the cue that was recorded for the film and unused? Or can we hear bits and pieces of it somewhere and we’ve never realized?

Vigo's Last Stand

Notes and thoughts to come.

Good With Kids

Notes and thoughts to come.

Enlightenment

Notes and thoughts to come.

Family Portrait-Finale

Notes and thoughts to come.

#randy edelman #ghostbusters 2 #film score #film music

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ghostbustershq · 3 years

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Out Today, Randy Edelman's 1989 Ghostbusters II Score Album!

The wait is over! After 30+ years of fans wondering if they’ll ever get an official release of Randy Edelman’s bouncy and jovial score to Ghostbusters II, today is the day! Sony Masterworks has remastered and released 16 tracks, including three that have been newly recorded and one scored for the film but not ultimately used.

Stay tuned to the HQ for an in-depth analysis of the score, we’ll be doing our best impression of David Collins soon and trying to line up some of the cues with the film to see what and where material was unused or altered in post production.

And don’t forget the vinyl release hits October 16th. As previously mentioned here on the site, there are glow-in-the-dark Barnes and Noble and Mondo exclusives forthcoming. Stay tuned for more information on those as it develops.

In the meantime, here’s much more information from the good folks at Sony Masterworks:

GHOSTBUSTERS II

ORIGINAL MOTION PICTURE SCORE BY RANDY EDELMAN

AVAILABLE TO STREAM FOR THE FIRST TIME EVER & ON CD TODAY

SCORE TO THE 1989 FILM CLASSIC WILL ALSO BE AVAILABLE FOR THE FIRST TIME ON VINYL BEGINNING FRIDAY, OCTOBER 15 – PREORDER NOW

NEW YORK, NY – For the first time ever and 32 years after the film’s 1989 release, the Original Score to Ghostbusters II is now available to stream and on CD format today from Sony Classical – LISTEN HERE. Featuring score music by award-winning musician, producer and composer Randy Edelman, the 16-track album includes original recordings of the film classic’s score as well as 3 newly re-recorded tracks and an additional song originally recorded by Edelman for the film but not featured in its final production. The album will also be available in vinyl format beginning Friday, October 16, arriving as a gatefold set featuring photos from the film – PREORDER HERE.

Of the score, composer RANDY EDELMAN says, “In Ghostbusters II, the characters and storyline were expertly conceived and then acted in the sequel brilliantly. The story took place a few years later, but in a sense each character already had a distinct personality, which hadn’t changed a bit. In a way, they carried their own music and soul with them. Their interactions in each scene would determine if musical accompaniment was necessary, and, in most cases, it was not. The new storyline and menace the city of New York was facing, the dark nature of the evil Carpathian, that was where this score would be most urgent. That and the supernatural, explosive and inventive methods of the group of our forward-thinking pals, was where the heart of my score would and should lie. Though I had watched and thoroughly loved the original film several years before, I decided not to view it during my involvement with the sequel. I knew I needed to carefully sculpt a musical palette for this new specific screenplay and did not reference any aspect of the original movie, trying to give Ghostbusters II a well-deserved, new color all its own. I will always appreciate the fact that this decision of mine was never once questioned.”

Speaking of his collaborators to the project, Randy continues, “Upon looking back at any score after so many years, a composer is surely cognizant of those who they were surrounded by, in a process that is always so challenging in many ways. In the case of the sequel to Ghostbusters, I was working on one of my first large scale orchestral works and one that followed the great success of the first movie. I was assisted by the great orchestrator, Mr. Greig McRitchie, music editor Kathy Durning, and engineers Elton Ahi and Robert Fernandez. I have elsewhere here thanked [Director] Ivan Reitman for a stern, yet assuring hand, in his direction at all times, and his confidence in trusting me totally throughout the always delicate process. The large orchestra gave me a spiritual high at each session, and I thank all the wonderful players who participated and lent their talent to my efforts. I got to revisit a few thematic moments for this collection, and it was a blast to be able to do that. It brought back all those incredible memories, and made that magic happen right now, once more. How lucky to experience it over again – I am one fortunate piano player!”

ABOUT RANDY EDELMAN

Music royalty with a career challenging the longevity that rivals the Queen of England, composer, conductor, singer and celebrated piano phenomena Randy Edelman has long been given tribute as one of the most profound and recognizable film, television, and sports soundtrack architects on the planet. A hybrid fusion of Mozart and Bruce Springsteen, there seems to be a certain bedazzlement or wizardry connected to him and his music that leaves a trail of glitter behind never to be forgotten.

Raised in Teaneck New Jersey, Randy was born with the ability to hear music and transcribe it onto the piano. After a brief quarrel with fate where Randy was temporally thrust into the pursuit of pre-med, he moved into full-time piano and composition study at the Cincinnati Music Conservatory where he was then able to follow his unquestionable destiny. He eventually procured an arranging assignment at James Brown’s King Records. In 1970 Randy relocated to New York to work as a staff writer at CBS Records while simultaneously playing piano in Broadway pit orchestras.

Like a seductive alchemist Randy began to write and record his own albums transforming the world’s anguish into a narrative of truth and granting him a thriving audience in the UK and a television spot on “Top of the Pops.” After enjoying the triumph of the British collective effervescence at the London Palladium and Drury Lane Theatre, Randy began to pursue a new interest in LA where he became interested in creating the life, blood and essence of the movies through music, making the plainest faces come alive with promise.

Randy is responsible for creating an endless cascade of many of the world’s most known soundtracks including: Ghostbusters II, 27 Dresses, While You Were Sleeping, The Last of the Mohicans, Kindergarten Cop, Dragonheart, XXX, Twins, My Cousin Vinny, The Mask, Beethoven, Dragon: The Bruce Lee Story, Anaconda, Mummy 3, Gettysburg, Billy Madison, Leap Year, The Whole Nine Yards, EdTV, Daylight and an endless array of others. Some of the television shows and series he scored include: MacGyver, Mr. Sunshine, Backdraft 2 for Netflix, and Citizen X for HBO. These credits only touch the surface of his accomplishments. He has also created the music for “Dare Mighty Things” for NASA’s final Shuttle launch, “Wimbledon, Grand Slam Tennis Series” for ESPN, “ESPN Sports Century,” and even the NBC “on air” Olympic Theme, of which he has celebrated over 20 years of Olympic themed glory keeping the musical flame alive.

Aside from crafting and orchestrating the scores that gave life to the films, a myriad of artists have covered and recorded Randy’s original songs from his solo albums. Included in that catalog is Barry Manilow’s “Weekend in New England,” The Carpenters’ “I Cant Make Music” and Nelly’s “My Place,” reaching Number 1 on the Billboard Hip Hop charts. Others include Willie Nelson’s “Down in the Everglades,” Patti LaBelle’s “Isn’t it a Shame,” Olivia Newton John’s “If Love is Real,” Blood, Sweat & Tears’ “Blue Street,” Royal Philharmonic’s “Grey,” and a list that continues endlessly. Randy has also opened live in breathtaking arenas for icons such as Frank Zappa and The Carpenters.

Randy has also received some of the most prestigious awards including BMI Top Grossing Film Awards, BMI’s highest honor, the Richard Kirk Award for Outstanding Career Achievement, the Lifetime Achievement Award in Film Scoring and Composition, the Best Accolade from the Los Angeles Film Awards, an Honorary Doctorate of Fine Arts and an Emmy for the close of the Olympic Broadcast.

Like a musical Chameleon, Randy continues to compose and record, lighting up the world like fireworks plunging into the night sky and shattering the darkness. The grand composer of modern and future times has just released his highly anticipated anthemic song of hope and inspiration titled “Comin’ Out the Other Side.” The single is now available worldwide via Soho Records. The song promotes an epidemic of joy and happiness as a grand finale to a time best forgotten….

He continues to work on the score for his musical, “Short Cut,” telling of the construction of the Panama Canal. Most recently Sony Masterworks is releasing Randy Edelman’s orchestral score to Ghostbusters II in all formats....

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ghostbustershq · 3 years

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Ghostbusters: Afterlife - Trailer 2 Full Breakdown

This is it, this is definitely it!

A meaty and goosebump-evoking trailer just dropped today for Ghostbusters: Afterlife.

Much like the first trailer, the main focus of this is the family - forced to move to Oklahoma after falling on tough times. Janine, Terror Dogs, Mini Pufts, and Ghostbusting in motion as Jason Reitman has referred to it are all here. There’s a whole lot here to unpack, plus a whole lot that I’m sure we still haven’t seen. In fact, I would argue that we now have a pretty complete picture of what’s in store come November and are being shown just enough to tide us over until the fall.

This was a solid trailer. It hit all of the right notes. It invoked goosebumps on several occasions. And oh boy, does it demonstrate that Jason Reitman wasn’t kidding when he told us hardcore nerds that if we loved easter eggs, we were in for a treat.

Let’s break it down, shall we?

A GREAT MOM

The trailer begins with a very quiet and intimate bit of dialogue between Paul Rudd’s Mr. Grooberson and Carrie Coon’s Callie.

The two sit at a table, and while the trailer frames it to appear to be Spinners, a quick glimpse at the wall next to the two in a later shot shows they’re actually in a Chinese restaurant. In fact, I love that Grooberson has what looks to be one of the deluxe Benihana cocktails in a ceramic glass in front of him. Grooberson tells Callie that she’s a great mom, but she’s not so sure. Callie feels like she’s been a great mother to her oldest, Trevor (Finn Wolfhard). But feels like her introverted daughter Phoebe (McKenna Grace) keeps her at a distance. There’s a sense that Callie and Phoebe can’t find much common ground, and for this her mother is struggling.

I really love how the trailer gently brings us into the world, helps set the stage, and gives us several glimpses of some of the incredible cinematography in store from Eric Steelberg.

AN AWKWARD, NERDY KID

Grooberson’s dialogue reassures Callie that what Phoebe is going through is normal. He calls her an “awkward, nerdy kid” to imagery of her at school being teased. Ghostbusters: The Video Game fans concerned about if the story and events from the game will somehow be referenced or acknowledged in some way will probably quickly notice the Doritos product placement. Hours of gameplay has trained them well.

Anyway, not only is Phoebe failing to connect with her mother on a deeper level, but it appears that she’s an outsider at school as well. It makes the friendship we know she’s to have with Podcast (Logan Kim) that much sweeter. And you feel for her right out of the gate here, hoping that she’ll find that friend as soon as possible.

Callie and Grooberson’s conversation comes to a conclusion with Phoebe’s mother just wishing, “she’d get into some trouble.” As her mother laments about her daughter needing to be bold and a little more adventurous, we see a continuation of the scene from the first trailer in which Phoebe solves a puzzle built into the floor of the farmhouse in order to find a hidden ghost trap. Perhaps Ghostbusting is exactly the trouble the young and brainy kid needs?

As we, the audience, see the familiar ghost trap, there’s quite literally a drum roll added to the music scoring of the trailer. Perhaps Ghostbusting is exactly the trouble we need too.

JANINE, YOU HAVEN’T CHANGED

The trailer continues with the Trevor dialogue we heard in the first trailer as he explains to Lucky (Celeste O’Connor) that they’re broke and the only thing they have is a “creepy old farmhouse” left to them by their grandfather. But that is the lead in to our first major surprise of the trailer: a glimpse of Annie Potts’ return as Janine Melnitz!

Janine jokes to Callie that her father wasn’t much of a homemaker. “He could hardly keep the power on,” Janine says with a chuckle. If there was any question of the family lineage, this trailer solidifies that Callie and her family are Spengler through-and-through.

It should be noted at this point that the quiet music that accompanied the beginning of the trailer suddenly has these eerie choral notes added to it. Adding a little bit of that paranormal/otherworldly feeling but keeping the trailer light and playful. I’m not sure if this is Rob Simonsen’s score, but if I had to guess given the way the music builds and shifts, this is an original music bed for the trailer only.

It’s also interesting to see how we’ll be able to revisit the past in the film by use of footage from the original (as seen in the YouTube videos playing on various computers) but also the use of one of my favorite set photography moments framed and displayed in the farmhouse presented as a personal photograph. I know, given how some people reacted to seeing a headshot of Sean Connery used in an Indiana Jones film, these types of touches can take people out of a film. But I think the trailer gives us a great idea of how these moments will be integrated and I love it.

The trailer takes a hard turn with a great back and forth between Callie and Janine. Callie tells Janine that it sounds like her father has left her nothing. Janine playfully retorts, “Well, I wouldn’t say nothing.” This line is masterfully juxtaposed with Trevor opening the barn doors to find the Ectomobile housed under a tarp. The music comes to a crescendo as Trevor lifts the tarp and reveals the Ghostbusters Mooglie logo.

Let’s call this goosebumps moment number one.

THE ONLY ONE WITH AN ENGINE

It’s this part of the trailer where it does something that’s a rarity these days, and that I appreciate so much: the music takes a breath and completely drops off to give us a small vignette of a scene from the film. Phoebe enters the barn to find Trevor working on the Ecto. She ribs him that, of all the broken down cars on the farm, he’s chosen “the station wagon.” Trevor responds that his vehicle of choice was the only one with an engine.

The music and percussion come back in full force to score Trevor on a joy ride through the wheat fields of the farm. He seems to be having a good time.

So am I… this was definitely goosebumps moment number two.

A STORM COMING

Act Two of the trailer starts with a dark and ominous storm coming into Sumerville. There’s trouble in small town Oklahoma. Grooberson reiterates his line about a town with no faultlines shaking on a daily basis to Trevor and Phoebe. Only this time, he receives a response: “Maybe it’s the apocalypse.” Phoebe delivers the line to Grooberson with such amazing deadpan earnestness that you can tell she and grandpa might have a whole lot in common. Including their sense of humor.

The line gives us a good chuckle to break the tension but also sets the stage for what’s to come in the trailer: exactly what Phoebe has predicted.

EVERYTHING HAPPENS FOR A REASON

As Phoebe tells us that “Egon came here for a reason,” an archival piece of footage and dialogue from the first film plays on her laptop: the commercial playing on Dana Barrett’s television at 55 CPW. As the original Ghostbusters give you their sales pitch, this is where the trailer really kicks into modern trailer overdrive.

Flashes of imagery including the PKE meter, Mini Puft mayhem at Wal-Mart, and more quickly breathe in and out. In fact, if this trailer is our Christmas present in July, this is where we’re unwrapping and unpacking what’s inside the box.

But we also get glimpses of a creepy underground temple with some pretty intense architecture and even creepier statue work. Terror dog/human hybrid statues flanking what looks to be a pharaoh with wings. And gaunt peasants all reaching out to it all. Did Sumerians have pharaohs? Or is this something else? Certainly seems like if there were Gozer worshippers out there, this might be a stone tribute to them.

The kids discover the terrifying temple and Trevor gives us an “oh my god” to punctuate as they see what we see.

NICE DOGGY, CUTE LITTLE POOCH

Right about this part of the trailer is where my brain explodes and I’m not sure where to start. Imagery is rapid fire as the shit hits the fan.

Phoebe looks into a cauldron in the temple (where there’s numbers behind her that we’ll have to analyze further at some point). And the cork pops on the bottle. As she does so, there’s a terrifying growl in the background foreshadowing some familiar imagery we’re about to see.

But before we get to that, two incredible things are seen as well: familiar purple PKE trails that look a whole lot like those that explode from the firehouse and converge at Spook Central. And, as Grooberson’s line about New York City looking like “The Walking Dead” is repurposed to sound like he’s talking about Sumerville, there’s an incredible physical creature design sitting at a lunch counter. A half-decomposed cabbie maybe? Wearing a 1970’s collar and neckerchief. To my eye, I’d be willing to bet that’s the work of Arjen Tuiten and his team of creature designers. And it’d make Steve Johnson proud.

Plus it’s such a funny image of this corpse sitting at a lunch counter, and the waiter is pour him coffee like it ain’t no thing. I love it.

Back to man’s worst friend: the terror dogs make several appearances in the trailer. First as a cool half-manifested entity above Groobersen and again chasing the poor guy out of a Wal-Mart. Is Groobersen haunted by these things like Louis Tully? Or is something else going on here?

IN A SPIRITUAL SENSE, OF COURSE

If there was a moment that I expected Ray Parker Jr.’s iconic theme song to kick into full gear, this would have been it. The icing on the cake of the trailer, after we see the dead rising from the grave and all hell breaking loose, is Trevor, Phoebe and Podcast all in the Ecto chasing after what we now know is Muncher. The editorial of this is insanely cool. And we get to see the Remote Trap Vehicle (RTV) deployed from the Ecto and how it’s used in the pursuit of Muncher. We’ve seen the gunner seat, but the beats that this moment in the trailer hit, well…

Goosebumps moment number three.

VENKMAN, WE’RE NOT HOME

After all the debate among friends if there would be a “Chewie, We’re Home” moment in this trailer - where we’d see one of the original Ghostbusters live and in the flesh, we got the perfect tease. As Grooberson, Phoebe and Podcast watch the conclusion of the original 1984 ad, the trailer closes with a phone ringing inside a very familiar looking Occult Book shop.

Tattooed arms (I’ve tried with everything I can to see what the tattoo says) pick up the phone and the familiar voice of Dr. Ray Stantz (Dan Aykroyd) curtly tells whomever is on the other end of that phone that, “We’re closed.” A perfect little tease if you ask me. Let’s save seeing Peter, Ray and Winston on-screen to the main event.

#ghostbusters afterlife #ghostbusters (2020)#jason reitman #trailer #trailer breakdown

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