Egon Spengler relocated to a farmhouse off of Oklahoma State Highway 99 near Summerville with Ecto-1 and several pieces of equipment. He took a quote from Revelations 6:12 and painted it on improvised signs outside his property. Janine Melnitz periodically visited Egon over the years, took care of him, and made sure his bills were paid on time. Egon still accrued a significant debt. He didn't interact with the residents of Summerville too often and remained enigmatic to the point they began referring to him as the "Dirt Farmer" because he owned farmland but never harvested anything yet was seen working a piece of the land. In reality, Egon buried over a hundred Traps in a grid-like pattern and hooked them up to three nearby silos converted into capacitors. Egon built an underground laboratory below a shed on the property. He kept his collection of spores, molds, and fungus in petri dishes and glass jar, flightsuits, and most of his equipment stored there. At some point, a Proton Pack was worked on but he never completed it. Ecto-1 was parked in a slowly collapsing barn on the property.
One evening in summer 2021, Egon captured Vinz Clortho at the Shandor Mining Company and drove back in a company truck. On the road to the Farmhouse, Zuul while invisible, attacked the truck. The truck flipped several times into a barley field and came to a stop upside down. Egon hobbled out of the field with the Trap and made it to the Farmhouse. He threw a lever on a column upwards on the porch and three capacitors nearby surged on. Zuul, still invisible, stepped out of the field. Egon held out the Trap. Zuul took several steps forward. Egon stepped on a trap pedal but the capacitors died out. He tried again several times but nothing happened. He ran into the house and dug a P.K.E. Meter out of a drawer. It detected Zuul and he heard it prowling around. The lights flickered off. Egon hid the Trap in a secret space in the study's floor and sat down on an armchair. He tapped his foot. An ominous smoke billowed into the room behind him. A vague Terror Dog form manifested in the smoke right behind him. He pressed a button and the P.K.E. Meter arms rose up into a taser setting. Several arm manifestations burst out of the chair and grabbed Egon. Zuul yowled and shot out of the house in the form of a pink P.K.E. wisp. Egon passed away and his body sat lifeless on the armchair. The P.K.E. Meter, now under the chair, registered a reading.
Callie, Egon's daughter, found out about his passing from Janine and prepared to head to Summerville with her son and daughter, Trevor and Phoebe respectively, under the assumption there was an inheritance. They soon arrived at the Farmhouse after a few days on the road. Trevor read the Revelations 6:12 quote at the entrance. He noted it was maybe a good thing Callie never met her father. Phoebe shielded her eyes from the Sun with her hand and looked up at the many satellites on the roof. Trevor took one look and called their new home a murder house. He walked around to get a signal on his phone and noticed rusted cars in various states of salvage. Callie tried to open the front door but it was locked. She lifted up the mat and looked in vain for a key. She asked Phoebe to break in. Callie tried to look through a window while Phoebe picked the lock. Callie was dismayed at the sorry state of the interior. She scoffed here were no photos, looked at a tall stack of books taller than her, and noticed a torn up armchair. Phoebe noticed a sequence of numbers scratched on the boards near the ceiling in the study then she examined a small statue of Zuul she found. Trevor walked inside and realized it was worse than he thought. An earthquake prompted them to take cover under the dining table. Trevor joked, "Remember that summer we died under a table?" Callie was annoyed the house was on a fault line. Phoebe speculated it was frakking. Callie found it frakking annoying. The earthquake stopped. Trevor took solace in the face they would only be in town for a week. Callie came clean they were living in Summerville permanently. Phoebe noticed a P.K.E. Meter under the ripped up armchair. She went over and grabbed it. Trevor recalled she said she had money saved up. Callie confirmed she did before she had children. Phoebe pointed out she was never good with money. Callie thanked her for the support. Trevor hit is head on the table while trying to get out then noticed Phoebe had a strange device but she didn't know what it was either. Trevor grabbed at the top of the meter but Phoebe pulled it out his grasp.
Janine walked in and asked how she could help them. Callie rambled but eventually stated the house was her father's. Janine introduced herself and noted she was the one who called her on the phone. She hesitated then stated she was friends with Egon and told Callie she was very sorry for her loss. Callie told her it was okay and she probably knew him better than she did. Callie mused she should be sorry for her loss. Janine clarified she just kept the bills paid on time. Callie mistook Janine for a money manager. Janine revealed there was no money to manage and recalled Egon could barely keep the power on. Callie realized Egon left them nothing. Janine disagreed and stated there was quite a bit of debt. Callie was stunned then gathered herself and stated she came to sign the forms, pack the silverware, and leave with the rent check. She asked Janine if the Farmhouse was worthless. Janine asked if she meant aside from the sentimental value. Later that night, Trevor explored around the farm for a signal. He went inside the old collapsing barn and removed part of a tarp covering a retro ambulance. The light on his phone went out, to his chagrin, and he stood in total darkness. Phoebe read a book on her bed. Egon, as a formless and invisible entity, chose to interact with physical objects to communicate with his granddaughter Phoebe. Behind her on the night stand, the P.K.E. Meter activated but she never noticed. A chess board and the pieces suddenly fell onto the floor. She sat up and looked to see what fell. Phoebe placed the board and pieces on the night stand next to her bed. She lied down on her side facing the chess board and fell asleep. Phoebe woke up the next morning and noticed a white pawn had been moved. Callie yelled they were leaving for school in 15 minutes. Phoebe moved a black knight forward. While she was gone, Egon moved the white knight one square. Callie scraped asbestos out of the attic and repainted. Trevor ratcheted under the hood of Ecto-1 in the barn. A headlight casing fell off. He sighed, picked it up, and walked to the driver's side. He pulled the tarp off, took one look, and called Ecto-1 a shit box.
Phoebe walked home with Podcast. He was surprised she lived at the "Dirt Farmer's" house. Phoebe confirmed that was her grandfather. He seemed concerned and pulled out his camera phone. Phoebe asked him if he was recording her. Podcast informed her he was doing just in case her body was pulled apart into tiny pieces by an unseen dark force. Phoebe was undaunted and told him bye. In the evening, Callie fell asleep at the dining table while she drank wine. In her bedroom, Phoebe moved a pawn to the square between the black pawn and her knight. She watches as a pawn moved forward next to the white knight. She advanced her knight and took the pawn. The white knight levitated and knocked her knight off the board. She noticed the P.K.E. Meter was registering an entity. She tried to communicate with a "Hello?" She figured out the difference between a strong and weak reading. Her closed bedroom door opened wide. One by one, the hall lights turned on as she stepped forward. She followed the lights and meter reading downstairs. On the first floor, a light turned on behind her. She turned around and the meter registered. The armchair suddenly slid forward and scooped her up then spun around. Phoebe looked down and noticed an odd pattern in the floor. She took a panel off and saw a covering. She slid pieces of floor panel around and soon solved the floor puzzle. She reached into a hidden space and picked up the Trap containing Vinz Clortho.
The next day, Gary Grooberson drove Phoebe and Podcast to the Farmhouse after they unknowingly released Vinz. Podcast narrated into his boom mike as he walked in. He noted the house had a door and windows like any ordinary one but there was the distinct smell of evil. Gary asked him what he was doing. Podcast explained he was just setting the mood. Gary found it creepy but he dug it. Podcast found an Aztec Death Whistle in the study and blew into it. Callie walked into the study to see what the horrific sound was. Podcast asked if he could keep the whistle. Callie told him to keep it as long as he did not use it again. Gary greeted her. She noted he brought them. Gary stated it was a service he provided, he was also an escort. She reacted. He admitted that came out wrong. She agreed. Gary admitted he always wondered what was inside the Farmhouse. Callie informed him the only thing lurking inside was her slowly dying soul. Gary asked if that was what the smell was. Callie quipped it was not dinner. Phoebe and Podcast stared at them in disbelief. Callie was about to offer something but he quickly accepted. She admitted she had no food. Callie suggested a tour. He accepted. She showed him the dining room. Podcast hung out with Phoebe in her bedroom and read a copy of Tobin's Spirit Guide. He suddenly shared his belief that think Gary was trying to bone her mom. Phoebe stared out into space. Podcast asked if that bothered her. Phoebe assured him it did but she exhibited emotions differently that everyone else and she was vomiting on the inside. He turned the page and saw a full page illustration of a standing Terror Dog and a small illustration on the right hand page of a Terror Dog on all fours. He recognized it from the Trap opening. Phoebe came over. They read about the Sumerian land of the dead and its ruler, the might god Gozer, and its protectors, the Gatekeeper and the Keymaster. Phoebe wondered what they let out.
Gary noticed an ancient looking map written in some kind of cuneiform. He realized it was a map of Summerville even it was written in a language from thousands of years ago and the town was less than 100 years old. He was surprised at how uninterested Callie was in it and asked to have it. Callie allowed him to take it but warned him that was how it started: first a map, then you move into a haunted house, and then everyone started calling him a "Dirt Farmer." He smiled then asked if Phoebe would want to hear about the map, too. Callie believed Phoebe would find something. Phoebe was led by Egon to a shack on the property. She slid down a fire pole down and explored the laboratory after the lights turned on. She looked a collection of spores, molds, and fungus in petri dishes and glass jars. She heard a click and went to a locker. She opened it and found several flightsuits. She saw a name patch reading "SPENGLER" on the one. She found a used Crunch bar in the left chest pocket and a pair of glasses in the right chest pocket of one of Egon's old flightsuits. A screen turned on. She sat down in front of the unfinished Proton Pack. The lamp moved on its own at her face then at the pack. She took off the cyclotron lid with her hands and flipped it over. She looked at the interior of the lid and noticed two of the CRT Emitters were missing. A drawer shot open. Phoebe thanked Egon, installed them, and placed the lid aside then took out the mini cyclotron. She wondered how on earth did he built such a small cyclotron. The lamp head shone its light on a wall, revealing framed degrees. Phoebe understood and asked for needle nose pliers. The lamp shone on a pair on the table. She grabbed them and went to work. With Egon's guidance, she finished the pack.
That evening, Phoebe ate popcorn while she watched the original Ghostbusters commercial on a laptop in her bedroom. Callie went into Phoebe's bedroom. Phoebe closed her laptop. Callie asked what she was up to. Phoebe claimed she was conducting experiments. Callie thought that was lame and was surprised she found popcorn. Phoebe asked her what kind of scientist her grandfather was. Callie replied the kind that repelled loved ones. Phoebe guessed a physicist. Callie lost interest and was about to leave. She informed Phoebe she was thinking of grabbing dinner with Gary the next day. Phoebe asked who Gary was. Callie informed her that was her teacher's name. Phoebe stated she was going on a date with "Gary Grooberson." Callie claimed it was just dinner and told her good night. Phoebe advised her not to be herself. Callie chuckled and left. Phoebe opened up the laptop and wrote down the Ghostbusters' phone number. The next day, Trevor continued working on Ecto-1. The car would not start. Trevor pleaded with Ecto-1. He never noticed Egon's invisible intervention. The motor roared to life. He slapped the steering wheel in triumph unaware of the help. The hood suddenly dropped. He looked outward drifted around in a barley field. Ecto-1 suddenly took off into the air and landed on the road. Coincidentally, he was just a few feet away from Phoebe and Podcast. They drove to town in search of Muncher.
That night, Gary drove Callie, Phoebe, and Trevor back the Farmhouse from the Summerville County Sheriff's Department. Everyone got out. Gary was about to say something but Trevor and Phoebe walked right into the house. Gary brushed it off. Callie and Gary both half shrugged to each other. She apologized for the night going sideways. He claimed he had a blast and suggested they continue their dinner the next night. Callie asked him if he really wanted more. Gary looked at the bright side: they had kung pao shrimp and went to jail. He was unsure how they were going to top a home run like that. Callie looked down, exhaled, and looked up again. She stated her life was a dumpster fire. Gary declared he loved dumpster fires and she should see his apartment. He corrected himself on the latter. She leaned in and kissed his cheek. He stopped rambling. As she walked to the door, he joked they were moving way too fast and she had to just relax. Gary held up a while plastic bag and offered to give the children their leftover shrimp. Callie closed the door.
Phoebe stared at the inactive P.K.E. Meter in the study. Callie walked in and dumped her purse. She reminded Phoebe they were barely hanging on. Phoebe stated she did not understand. Callie countered she understood they drove around town, destroying expensive property. Phoebe stood up and asked if she ever thought Egon went to Summerville for a reason. Callie revealed she only thought he was a sad old man who turned his back on his family and his partners for a stupid farm in a town nobody cared about and where everyone thought he was nuts. Phoebe thought he was special and loved science like her. She asked her why she never shared that Egon was her grandfather. Phoebe started to tear up. Callie was glad Phoebe found herself but she herself only saw reminders that she did not mean a thing to him and he never cared about her. Phoebe stated he was not nuts. Callie declared he was an asshole and welcomed her to the family. Trevor sat near the top of the staircase upstairs in silence.
The next day, Callie called out for Phoebe. She looked in Phoebe's bedroom and sighed. She picked up the P.K.E. Meter and looked at the back of it. It registered an entity. She waves it to the right and it went dead. She waves it back to the left and it registered. Callie followed the reading to the shed and took the fire pole down into the laboratory. Lamps turned on. She walked over to a desk and picked up a photo frame. A lamp moved closer towards her. Egon was still communicating through objects only. She turned and looked at it. The lamp tilted up. She placed the frame down. It was of a girl in a white dress doing a ballet pose. She took a few steps and saw a wall with tons of photographs and notes about her. A newspaper clipping noted "Ms. Spengler" sold 10,000 boxes of Girl Scout cookies. The article was written by Joel Tobman, a Chicago freelance journalist. Another note read, "1987 Freckle count has doubled. Braces are next." Another note read, "Roadtrip '84' Must Research R.E.M." Another article clipping was about Callie with a #3 jersey on a woman's soccer team with a major/minor in English/Spanish/Psychology. It notes she was a four year letter winner and co-captain and last season she was a second team All-OAC and third team All-Ohio pick. There were some high school photos of Callie running track. Another article was about a title being won. Another note had statistics: retention of 84%, fourth year graduation rate of 80%, domestic students of color of 21%, international student enrollment of 10%, ACT 25th-75th percentile, class rank 25th-75th percentile of 71% and 94%. Another note read, "Moving Day Dorm Room shows serious fatigue in all load bearing" Callie was moved. Zuul floated down into the laboratory in her mist-like Sentinel form. There were several baby photos of Callie. One note read "1983 Received my B-Day" and "Curious if subject is soldering iron" and another "First Snow Image has Strong Impact on my Pulse + Body Temperature Potential Frost Bite." There was a snarl. Callie turned her head. From the darkness, Zuul lunged and roared at her.
Phoebe ran into the Farmhouse first first and called out to Callie. Callie was sitting on the ripped armchair in the study. Phoebe got no response. Podcast walked inside. Without looking up at them, Callie whispered, "There is no Mom. There is only Zuul." Phoebe and Podcast exchanged looks and slowly stepped toward Callie. Phoebe asked her if she was okay. Callie's eyes were red. She repeated, "There is no Mom. There is only Zuul." Zuul's demonic voice was heard then she started to breathe quickly. Trevor and Lucky Domingo ran in. Trevor wanted to know what was happening. Phoebe called to her again. Lucky asked if she was okay. The P.K.E. Meter registered. Phoebe and Podcast leaned in. Podcast got on his knees in front of her. Zuul got in his face and snarled then stroked the left side of his face. She asked him if was the Keymaster. Podcast had no idea. Phoebe was aghast. Podcast asked Phoebe what to do. Phoebe pulled at Zuul. Zuul snarled angrily. The taser setting suddenly activated on the P.K.E. Meter. Zuul quickly took cover behind the armchair. There was another earthquake. Zuul saw the Psychokinetic Atmospheric Influence forming above the mine. She snarled and jumped through a window, shattering the glass. Phoebe yelled for her mother. She the P.K.E. Meter from Trevor and ran outside. Lucky asked what the hell was going on. Phoebe looked at "Dirt" on the barn. She went on her knees and dug with her hands. She pulled up a black wire. Podcast asked what it was. Phoebe realized the farm was really a trap.
Phoebe and Podcast slid down into laboratory. He immediately picked up the Aura Video-Analyzer colander and put it on. Lucky came down next. Trevor was last and landed awkwardly. They each grabbed a flightsuit out of the locker starting with Phoebe, Trevor, Lucky, and then Podcast. Trevor sneaked a look at Lucky's black bra as she changed. Lucky saw. She asked him, "What?" Trevor turned around and zipped up then replied "Nothing." Phoebe presided over a model of the Farmhouse property. It lit up. She stated it was what Egon was working on all those years. Trevor thought she was talking about the model. Lucky admitted the detail was amazing. Phoebe clarified Egon came to finish what the original Ghostbusters started. Lucky deduced she was alluding to trapping Gozer. Trevor realized that was what the dirt field was for. Phoebe confirmed their thoughts and pointed out the big silos acted as a capacitor. The model capacitors activated and shorted. They backed off. Trevor inquired what a capacitor was. Phoebe asked him if it would kill him to read. Trevor quipped if it would kill her just to tell him the answer. Phoebe explained that once activated, the silo towers could hold a charge for one moment but in that one moment, they could power hundreds of Traps. Lucky asked the big question, how were they going to get Gozer into the field. Phoebe steered the conversation to Zuul and Vinz and explained Gozer needed both of them to exist on their plane. Podcast elaborated they both had to possess a human soul each. Trevor caught on that Zuul possessed Callie. Phoebe revealed they would then "unite formally." Trevor was not catching on, nor Lucky. Podcast shared they were thinking at least third base. Lucky gave Callie props.
They departed for the sheriff's office to recover their equipment and Ecto-1. Lucky took a squad car and returned to the Farmhouse with the Proton Pack. She waited inside according to the plan. Some time into the evening, Ecto-1 plowed through some of the Revelation 3:16 signs and came to a stop by the dirt field. Phoebe exited out of the rear with the Trap holding Zuul. Callie came out next and stared upwards. The Psychokinetic atmospheric influence was now above the Farmhouse. Trevor looked up at it. Phoebe yelled at Callie to follow her. Phoebe headed to the porch. Callie stopped in front of the porch. The corn field rustled. Callie stood in front of Phoebe and told her to get back. Phoebe protested. Trevor got into the back of Ecto-1 with Podcast. Gozer, in a disembodied form pushed the stalks aside and walked out onto the dirt. Phoebe held out the Trap. She told Callie to pull the lever. Callie looked around, saw it, and pulled it. The capacitors surged on. Gozer turned and looked at the capacitor silos. The Traps buried in the field hummed. Lucky kicked the front door open with the Proton Pack on. She fired and wrangled Gozer. Trevor came out of Ecto-1 on the gunner seat but his thrower failed to fire. Mini-Pufts were on the back of the gunner seat disabling the pack. Podcast saw one on his left cuff and screamed. Gozer grabbed the Proton Stream and wrapped it around its right arm several times. Phoebe ordered Callie to hit the pedal. Callie stomped the pedal. The red lights on hundreds of buried Traps turned on but the capacitors went offline. Gozer tugged the stream and Lucky went flying forward. Phoebe and Callie ran to Lucky. Trevor asked Podcast what he was doing. Podcast yelled he had his own problems. Vinz blocked Phoebe from Lucky and the pack. Callie and Gozer pulled at the Trap. Gozer wrested it away and Callie fell over. Gozer ripped the Trap in two. Lucky was possessed by Zuul and transmogrified. Trevor was speechless. Zuul snarled at Callie and she screamed. Gozer was restored to full power. It petted Vinz then Zuul. Gozer's fingertips energized and she aimed at Callie and Phoebe. Callie closed her eyes as the energy neared her face.
Peter Venkman called Gozer a "flattop." It stopped and looked over. Ray Stantz, Peter Venkman, and Winston Zeddemore stepped out in their flight suits and were armed with Proton Packs. He asked if it missed them. Three Mini-Pufts inside Ecto-1 were enamored with the Ghostbusters. Ray addressed Gozer and stated in the name of the county of Summerville, state of Oklahoma, the U.S. Fish and Wildlife Service, all the members of Ducks Unlimited, and the Association for the Advancement of Retired Persons, he command it under the National Invasive Species Act to depart Earth immediately. Peter made a face. Winston side-eyed Peter. Peter applauded Ray. Winston mused Gozer remembered them. Gozer asked Ray if he was a god. Ray was speechless. Winston and Peter were beside themselves. Ray answered "Yes." Winston declared they were all gods and Peter added they were all pretty dang special. Gozer gestured the Terror Dogs to stand down as they snarled. Winston cut to the chase. They got out their throwers. They marveled at the sound of it turning on. Peter instructed them to shoot on the count of three but go on "two." They fired and hit Gozer then crossed their streams. Gozer clutched at the streams. Callie cheered. The Ghostbusters knew it was not over. Gozer uncrossed the streams then whipped them. The momentum launched the Ghostbusters into the air. They bounced hard off the side and front of Ecto-1. Phoebe asked if they were dead. Ray groaned he did not remember the job being so painful. Winston disagreed.
Peter began to stall. He told Gozer it had a lot of nerve, crawling back to him. He believed they could have been the most spectacular power couple: his sense of fun and its personality. Gozer walked past Callie and Phoebe. Peter rambled on about their non-existent break-up because it always had to vanquish and conquer and maim somebody. Winston aimed his thrower. Gozer zapped Winston's hand. Peter complimented Winston on the attempt and stated to Gozer they were finished. Gozer was shot in the back the head by Phoebe. It turned its head. They fired at each other. The streams of energy collided. Callie was concerned for her daughter. Phoebe started to lose ground and was pushed backwards. Suddenly, an ethereal hand held the thrower with Phoebe and kept it steady. Callie was shocked. Egon's ghost had fully manifested. Egon and Phoebe exchanged looks. She was in total shock. Ray, Peter, and Winston got back on their feet and blasted Gozer, too. Phoebe and Egon inched their way to the Ghostbusters. Podcast picked up the P.K.E Meter and tasered a Mini-Puft apart. He starts tasering all the Pufts. The Mini-Pufts got scared and tried to run away. Trevor peeked inside. The guys looked at Egon in dismay. Podcast zapped more Mini-Pufts. A machine turned back on. Podcast declared they were back on.
Trevor took aim but looked at the capacitors and fired at them instead of Gozer. The Trap Field hummed back on. Callie noticed the Traps and ran up to the porch and stomped the pedal. The Traps all opened. The wisps and disturbance were pulled down to the Traps. Gozer was ripped apart. Souls that Gozer consumed were pulled out of its body and trapped, too. The remaining Mini-Pufts roasted and blew up. The Terror Dogs fell to their stomachs and were trapped. The Traps closed. The Ghostbusters and Phoebe switched off their throwers. Phoebe ran off. Winston was still speechless at the sight of Egon. Peter and Ray turned to Egon. Peter dryly joked he thought Egon might turn up. Egon turned to them. Ray apologized for not believing him. Egon nodded. Winston admitted he should have called and told Egon he missed him. Egon nodded. Phoebe went on her knees and slowly moved a finger towards a Trap. Her finger was zapped. Callie grabbed Phoebe and hugged her very tightly. She told Callie she could not breathe. Peter came over to them and went down on one knee. He introduced himself and shook Phoebe's hand, thanking her for pitching in. Phoebe replied he was welcome. Peter liked her style and acknowledged Callie. Callie stated she was "Callie Spengler." Peter called Spengler a weird name and advised her to make the best of that. He declared they were going to have cocoa inside the house and some of them were having rum with it.
Trevor ran over to the Terror Dog husks. He pulled the head off one. Gary's head was visible. Trevor asked him if he was okay. Gary noted his hands hurt from galloping. One of Lucky's hands emerged from the other husk. Trevor ran over and tried to pull the husk apart. Lucky emerged. Trevor told her he thought he lost her. He helped her up. Callie and Gary talked. Gary summarized that was weird. She agreed. Gary touched his head and realized he was bleeding but did not know why. Callie informed him he headbutted a park bench. Gary remembered. After some awkwardness, Gary tried to address that they had sex when they were possessed and opened the gates to hell. Callie pointed out they saved the world after. Podcast stepped out of Ecto-1 covered in marshmallow residue. Ray asked him if he was all right and declared he just singlehandedly defeated a manifestation of Gozer. Podcast invited him on his podcast. Ray agreed and asked what the name of it was. Podcast revealed it was named "Mystical Tales of the Unknown Universe." Ray recognized the name and was surprised he was behind it. Podcast realized Ray was his one subscriber. Ray thought the podcast found its voice in the 46th episode. Winston touched the hood of Ecto-1 in dismay. He promised to take her home and get her all cleaned up. Trevor and Lucky slowly approached Egon. Lucky pushed him forward. Trevor greeted Egon. Egon placed his left hand on Trevor's right shoulder. They turned to Phoebe. Egon knelt down and parted her hair. She teared up. Egon turned to Callie. He stood up. She walked over. They looked at each other. Callie ran up and hugged him. He was relieved and hugged her back. Trevor placed his left hand on Phoebe's left shoulder. She was beside herself. Lucky placed her left hand on Trevor's right shoulder. Winston and Ray were moved. A tear streamed down from Callie's right eye. Peter was moved. Egon peacefully dispersed. They all looked up into the sky and saw a faint recreation of the No-Ghost Sign.
Behind The Scenes
The production crew scouted dozens of farmhouses and barns in Alberta but they had either one great landscape, barn, or farmhouse and not all three. Three of the location scouts independently logged the same farmland that would eventually be used for the Farmhouse set. Eventually, they found a property with a beautiful knoll and great view up onto a ridge. The property was mainly for canola crops.
The glass used for the house was antique glass they bought, cut down to size, and laminated for safety. The wood used to build the house was brand new but it was theatrically painted to look old. Prefab took place months prior to the first day of filming at the Farmhouse set on location. Treatments were used to make it peel naturally. The lever on the porch for the Trap Field was moved at the last minute. A post was switched out to make it 4x4.
The barn was 130 years old when it was found and it belonged to the Gibson family east of where the Farmhouse was built. The barn was found as is with a collapsed roof. The crew took it apart plank by plank. There was old lead paint peeling off so the team had to add a transparent paint to seal it up. A construction team in hazmat suits logged all the pieces of the barn and rebuilt it on the site chosen for the farmhouse which was a couple hours away. The team also had to add hidden structures to keep the barn structurally sound but still look decrepit. The Farmhouse's shed was built with repurposed wood from the barn.
The underground lab was built on the Studio 3 sound stage at the Calgary Film Centre. It was actually two steel sea containers welded together. To populate the underground lab set, Paul Healy used screen grabs from the original movies, secret eBay accounts, and secretly got advice and assistance on Ghostbusters fan sites, forums, and threads.
On April 19, 2020, Jason Reitman credited Dave Shukan and David Kwong for puzzle consulting for the movie.
On March 23, 2021, the Ghostbusters Twitter account confirmed shots of the Ecto-1 cars filming in Dorothy recently found on Apple Maps was done near the Farmhouse.
On November 25, 2021, Jason Reitman posted a cast and crew photo at the second Farmhouse set.
Everything was struck down and removed after production and returned to the way it was before production.
- An earlier concept design of the Farmhouse was more of a contemporary farmhouse.
- For locations like the Farmhouse, Bill Ives used a drone and did a couple of passes around the set location chosen then the images were uploaded into a computer and photogrammetry was done then set design was done in earnest.
- Two Farmhouse sets were built from scratch. The Farmhouse was built on location was south of Calgary at Range Road 21A & 242 Avenue West, Foothills County, AB T0L 1W0, Canada. The Farmouse built inside a studio was at the Calgary Film Centre.
- Production designer Francois Audouy studied homes from "Psycho" to "Days of Heaven" for research in the making of the Farmhouse.
- The antennas on top of the Farmhouse is a nod to the equipment on Ecto-1's roof rack.
- The billowing smoke from Zuul's mist form was a practical effect using dry ice.
- The quote of Revelation 6:12 is from the King James Version of The Bible, "And I beheld when he had opened the sixth seal, and, lo, there was a great earthquake; and the sun became black as sackcloth of hair, and the moon became as blood."
- The barley field grown by the crew by the Farmhouse was harvested and sold after principal photograpy wrapped.
- There is a 1958 Cadillac Series 62 4 door hardtop outside the barn.
- A stack of books in the living room is a nod to the Symmetrical Stacking found in the New York City Public Library in the first movie.
- Phoebe finds a small statue of Zuul on the desk.
- The second floor of the Farmhouse was only at the house on the stage set in the Calgary studio.
- The ancient map that Grooberson notices while inside the Farmhouse first appeared off-screen as supplemental material with a tie-in merchandise release of Reebok shoes in November 2020.
- When Phoebe slides down the fire pole to the underground laboratory, re-recording mixer Will Files reused the sound of when Ray Stantz first slides down the fire pole in the original movie.
- In the underground lab:
- The various specimens references Egon's hobby of collecting spores, mold and fungus.
- Egon's Stethoscope earphones from the library scenes in the first movie appear on the stack of objects.
- The locker door has a maid door sign seen at the Weaver Hall lab's door in the first movie.
- Phoebe finds a Crunch bar in chest pocket of a flightsuit. In the first movie, Peter gave a Crunch bar to Egon after their encounter with the Library ghost.
- Janine's whale paperweight from the first movie is on top of the old computer.
- There is a box of Cheez-Its on the desk. Egon ate some after Dana's interview in the first movie.
- The Medrad Mark IV Angiographic Injector Injection System is near the table. It was rolled out by a mover in the first movie when Peter, Ray, and Egon are fired from Columbia University in Chapter 4: Terminated.
- The unfinished Proton Pack Phoebe discovers was based on the original Proton Pack prop used by the late Harold Ramis in the first movie. It was Lidar-scanned then rebuilt down to the millimeter and aged. Ramis's daughter Violet Ramis-Stiel accompanied Jason Reitman and the crew when they went to Sony's archives to scan the prop. She tried on the prop and started to well up.
- Jason Reitman's original idea for Phoebe entailed a girl was in a corn field. She fired her Particle Thrower into the corn and it popped into popcorn. She ate the popcorn and smiled. The scene was filmed but it couldn't be quite pulled off so it was cut out of the movie.
- During chemistry reads, Carrie Coon did the argument scene used after the Sheriff's Office with Mckenna Grace.
- A framed photo Callie picked up reveals she took ballet in her youth.
- In the underground laboratory, on Egon's Callie wall:
- An article reveals during her childhood in Chicago, Callie sold 10,000 boxes of Girl Scout cookies.
- Photos from Coon's childhood and college years photos were used for the underground lab scene when Callie realizes Egon was keeping track of her life.
- Some photos show that Callie was on a track team in high school.
- An article reveals Callie went to college in Ohio, had a major/minor in English/Spanish/Psychology, wore #3 on her jersey on a woman's soccer team, was a four year letter winner and co-captain, and in one season she was a second team All-OAC and third team All-Ohio pick.
- One of Egon's notes amid Callie's photos notes her dorm room shows serious fatigue in all load bearing, callback to Egon's assessment of the firehouse in the first movie in Chapter 5: Fixer-Upper.
- At the 1:26:37 mark, left of Callie's left shoulder, there is a note card that lists Callie's second birthday in 1984. Thus, Callie was born in 1982.
- Possessed Callie's line "There is no Mom, only Zuul" is a callback to the first movie, Chapter 19: Peter's Date with Zuul, when she possessed Dana Barrett and told Peter, "There is no Dana, only Zuul."
- Possessed Callie breathes heavily just like possessed Dana did in bed when the containment grid was shut down in the first movie, Chapter 21: Out of Biz.
- Podcast puts on the Aura Video-Analyzer's colander helmet from the first movie, Chapter 20: Keymaster.
- The scene of Phoebe explaining to Trevor what a capacitor is was inspired by a time when Adam Savage once explained to Jason Reitman what a capacitor was. On the day of filming the scene, Reitman texted Savage to make sure that was the right way to say it. Savage texted back two different reads to use.
- A second Farmhouse set was built in the Calgary Film Centre. For the third act, the Farmhouse double had be built on a stage to control the elements since it took place at night and to be able to film with the young actors who per schedule regulations were limited to filming until 9 or 10 pm. Corn was harvested in southern Alberta and added to the set.
- Half of the Farmhouse set was rebuilt on the sound stage and half was moved from one set to the other like the trees which were on metal plates. The barn was cut up with a chainsaw and set up on the sound stage.
- The corn and barley on the sound stage was real. They were harvested hundred of miles away then trucked in and attached to little grids or plywood that could be moved around.
- The sound stages used for the Farmhouse and Temple of Gozer were next door to each other.
- On Bill Murray's first day on set, he was in his trailer trying to get the TV working so he could watch a Chicago Cubs game.
- Bill Murray had a tendency to strip the props off once a scene was done. In one instance, he left his Proton Pack prop on the floor and it was kicked by a crew member by accident. Ben Eadie had to glue some pieces back on.
- On the day Bill Murray, Dan Aykroyd, and Ernie Hudson filmed together, the first shot was done in the morning and was the part where Gozer throws them into the side of Ecto-1.
- Peter refers to Gozer as "Flattop," a callback to the first movie when Ray says, "Aim for the flattop!"
- Ray addresses Gozer to stop in a similar way he did in the first movie, Chapter 26: Gozer.
- Bill Murray added variations on Peter's barrage of insults at Gozer. Only some ended in the theatrical version. Finn Wolfhard suggested Trevor should laugh to annoy Gozer even more but Jason Reitman urged him to keep playing it low-key.
- Olivia Wilde eventually broke character and laughed at Bill Murray's insults to Gozer.
- Jason Reitman advised Dan Aykroyd to join in and insult Gozer's godly aspects.
- As a callback to the first movie, Chapter 26: Gozer, Gozer asks the Ghostbusters if they're gods.
- One line Bill Murray improvised was right before the Ghostbusters fire at Gozer and Peter says "Count of three, go on two, one two blast."
- Bill Murray made fun of Ernie Hudson for having a pad hidden under his spot on the dirt ground for the insult scene. Hudson quipped it was for the stunt man.
- Peter stalls Gozer by rambling on much like with Vigo in Ghostbusters II, Chapter 26: Ghostbusters vs. Vigo.
- Logan Kim lost his voice after filming the scene where he has to scream and taser Mini-Pufts in Ecto-1 Some marshmallow got flung into his eye.
- Bob Gunton did the performance capture for Egon's ghost.
- For filming Egon helping Phoebe, Ivan Reitman suited up and stood in for one shot for the late Harold Ramis.
- The props in the Trap Field are Spirit brand Ghost Traps. There were over a hundred of them.
- When the Trap field is activated, the Mini-Pufts look like when the Stay Puft Marshmallow Man was caught in the explosion from the Ghostbusters crossing the streams in [[Ghostbusters (Chapter 28): Crossing Streams|Chapter 28: Crossing Streams.
- One of Lucky's hands emerges first from the Zuul husk similar to the end of the first movie, Chapter 28: Crossing Streams, with Dana.
- Gary somewhat recalls he had sex with Callie while they were possessed and she confirms it. In the first movie, there is a deleted scene "No, Louis!" where Louis somewhat recalls it but Dana flat out denies it.
- Podcast emerges from Ecto-1 covered in marshmallow residue much like three of the Ghostbusters at the end of the first movie, Chapter 28: Crossing Streams.
- It took an hour to apply the marshmallow residue to Logan Kim. It was a substance with cornstarch in it. Some would be glued to his face. A separate Ecto Goggles prop was used that was covered in the substance. After awhile, it would harden like Jell-O and the flightsuit would get really moist and uncomfortable.
Primary Canon Appearances
- Ghostbusters: Afterlife
Secondary Canon (Expanded Universe) Appearances
- Ghostbusters: Afterlife
- Deleted Scene
- Callie Spengler (2022). Ghostbusters: Afterlife Chapter 3 (2021) (Blu-Ray ts. 14:16-14:20). Sony Pictures. Callie Spengler says: "We're staying, actually. You know that farmhouse off the highway with the barn."
- Callie Spengler (2022). Ghostbusters: Afterlife Chapter 4 (2021) (Blu-Ray ts. 20:07-20:10). Sony Pictures. Callie Spengler says: "Um, that old apocalyptic ranch off of 99."
- Wertheimer's Hardware Owner (2022). Ghostbusters: Afterlife Chapter 4 (2021) (Blu-Ray ts. 20:18-20:26). Sony Pictures. Wertheimer's Hardware Owner says: "Man spends every week working a piece of land... but never seeding, never watering, never growing a ding-dang thing."
- Tested YouTube "Creating Ghostbusters: Afterlife's On Location Set!" 6:29-6:33 1/19/2022 Bruce Brownstein says: "But it's funny of the scouts, three of us and stopped and photographed this hill."
- Go Creative Show YouTube "Ghostbusters Afterlife Production Design (with Francois Audouy) GCS291" 11:53-13:03 12/6/2021 Francois Audouy says: "We had-first we looked at dozens and dozens of actual farmhouses and barns and things in in Alberta and we would always find like a great like a great barn with no house or a great house with no barn or a barn on a non-interesting piece of landscape or a house you know we needed a great canvas, a great house and a great barn and you could never-we could only get one of those three things so we ended up-I-I really pushed hard to to do something where we would have absolute control and make it as good as we could possibly make it so we found a really beautiful knoll that was frozen over when and covered in snow when we first went to go scout it but it had this great view up onto this ridge so that we could put the house above the horizon very much like the Psycho house is-you know-you're always looking up at the house with the sky in the background and and we started from scratch and we-I did a lot of research looking at actual vernacular of farmhouse architecture from the Midwest and Oklahoma."
- Tested YouTube "Creating Ghostbusters: Afterlife's On Location Set!" 3:59-4:19 1/19/2022 Bruce Brownstein says: "So we came here in the winter and we looked at this landscape and it had been a canola crop prior so it it was stubby with snow but we knew we wanted corn, we just didn't know exactly how much corn so in the end, the production designer and Jason, they figured out okay the footprint of the house, the barn, these silos, the dirt field and corn around it."
- Tested YouTube "The Production Design of Ghostbusters: Afterlife!" 2:19-2:29 1/26/2022 François Audouy says: "So we found old glass. We bought old glass, cut it down to size and then actually had to laminate it for safety so it's laminated so because you can't get anti-glass with tempered so that's the whole process as well."
- Tested YouTube "The Production Design of Ghostbusters: Afterlife!" 2:34-2:58 1/26/2022 François Audouy says: "This is all brand new theatrically painted to appear old but we started prefabbing this house months ago in a parking lot near our stages and literally starting with brand new wood and then layering all those-all the five layers of paint to make it look like it was really really old and then we used treatments to make it peel naturally."
- Tested YouTube "The Production Design of Ghostbusters: Afterlife!" 9:58-10:13 1/26/2022 François Audouy says: "Just the lever that's on the porch changed position at the very last minutes and we switched out the post to make it a four inch by four inch post so those so those things you have to stay on top of it and document almost forensically."
- Tested YouTube "Creating Ghostbusters: Afterlife's On Location Set!" 2:42-2:55 1/19/2022 Bruce Brownstein says: "There was a--the farm we really liked, the Gibson family, they had this barn on their property and it looked pretty much as it does now and so the idea was let's buy that barn, bring it and make it part of our set."
- Tested YouTube "Creating Ghostbusters: Afterlife's On Location Set!" 3:48-3:53 1/19/2022 Bruce Brownstein says: "It's the same barn material that sat on that farm for 130 years."
- Go Creative Show YouTube "Ghostbusters Afterlife Production Design (with Francois Audouy) GCS291" 13:04-13:26 12/6/2021 Francois Audouy says: "We got lucky and we found it in a magnificent barn with a collapsed roof that we were able to salvage and take apart plank by plank and re-erect on site which was really kind of-I wasn't sure that was going to work but it was a miraculous feat of engineering by by the construction team so that bind-"
- Go Creative Show YouTube "Ghostbusters Afterlife Production Design (with Francois Audouy) GCS291" 13:33-14:19 12/6/2021 Francois Audouy says: "When we scouted the barn, it was kind of remarkable it was still standing, it looked like it was ready to fall over at any minute you know so we had to-it was also old peeling lead paint you you it was an environmental disaster area and so we had to go in with a team and seal everything with a transparent paint basically to seal all of that peeling paint and then disassemble everything with a construction team basically in hazmat suits, log all of the you know all of the pieces of the barn so that we could put it back together like a big puzzle piece and then transport it a couple of hours away to our new location."
- Go Creative Show YouTube "Ghostbusters Afterlife Production Design (with Francois Audouy) GCS291" 14:25-14:45 12/6/2021 Francois Audouy says: "And another hard thing well not just the hard thing but another challenge was then then you have to put it together in a safer way that is not going to just fall down on top of the crew and so they were able to put all of this structure invisibly into the house-into the barn to make it appear decrepit but be completely structurally sound."
- Inguanzo, Ozzy (2021). Ghostbusters: Afterlife The Art and Making of the Movie, p. 74. Titan Books, London UK, ISBN 1789096529. Line reads: "Production designer Francois Audouy recalls designing the shed using repurposed wood from an antiquated shack that was part of the barn acquisition."
- Inguanzo, Ozzy (2021). Ghostbusters: Afterlife The Art and Making of the Movie, p. 74. Titan Books, London UK, ISBN 1789096529. Line reads: "Through the magic of editing, she would ultimately land in a separate set built and located on the Studio 3 sound stage at the Calgary Film Centre."
- Inguanzo, Ozzy (2021). Ghostbusters: Afterlife The Art and Making of the Movie, p. 79. Titan Books, London UK, ISBN 1789096529. Francois Audouy says: "Occasionally, they're comprised of steel sea containers which have been modified and buried. So we purchased two of them, welding them together, and that became Egon's secret underground lab."
- Inguanzo, Ozzy (2021). Ghostbusters: Afterlife The Art and Making of the Movie, p. 80. Titan Books, London UK, ISBN 1789096529. Line reads: "Healy pulled a ton of screen grabs, set up several secret eBay accounts, and went undercover, obtaining guidance and assistance from Ghostbusters fan sites, forums, and threads."
- Inguanzo, Ozzy (2021). Ghostbusters: Afterlife The Art and Making of the Movie, p. 80. Titan Books, London UK, ISBN 1789096529. Paul Healy says: "I did whatever I could to maintain accuracy and acquire these obscure pieces. That meant sometimes purchasing them on eBay or replicating them, and keeping it true, one hundred percent, to the littlest detail."
- donthedrifter instagram 8/20/19
- iamkevinsmith Reddit 8/20/19
- iamkevinsmith Reddit 8/21/19
- Eric Steelberg instagram 8/21/19
- kellysboymuma instagram 8/23/19
- shaun_k12 instagram 8/23/19
- David Kwong YouTube "Puzzle Corner - Episode 7" 4/19/2020 Jason Reitman says: "Dave Shukan and David Kwong, uh, participated in Ghostbusters and in fact, some of their work was already seen in a trailer that was already out there so you can look for that easter egg."
- Ghostbusters Tweet 3/23/2021
- Jason Reitman instagram 11/25/2021
- Tested YouTube "Creating Ghostbusters: Afterlife's On Location Set!" 4:45-4:56 1/19/2022 Bruce Brownstein says: "No, our obligation is to return this land to the way it was exact full crop field. We'll remove all the pads, the roads, the gravel parking lots and put it all back the way it was."
- Tested YouTube "Adam Savage Visits Ghostbusters: Afterlife's Art Department!" 9:24-9:38 2/1/2022 Bill Ives says: "And we started with something a little simpler. At the very beginning, it was more of a contemporary farmhouse, you know, but then we've changed it into a Victorian kind of style and really creeped it up and got all the Egon pieces."
- Tested YouTube "Adam Savage Visits Ghostbusters: Afterlife's Art Department!" 10:59-11:18 2/1/2022 Bill Ives says: "So what I do with that is I have a little drone that I fly around the location, do a couple passes and then bring it into the computer and do a photogrammetry based on that so when we design the sets, we're designing them on the actual geography of the location."
- IGN YouTube "Ghostbusters: Afterlife - Exclusive Trailer Breakdown with Director Jason Reitman" 02:30-02:36 7/26/2021 Jason Reitman says: "This was a house that we actually built from scratch we built twice, once on this location and then once on a soundstage."
- Jason Reitman instagram 11/21/2021 Jason Reitman says: "Ghostbusters Afterlife is a haunted house story and @audouy studied homes from Psycho to Days of Heaven in order to create the Dirt Farm."
- IGN YouTube "Ghostbusters: Afterlife - Exclusive Trailer Breakdown with Director Jason Reitman" 02:06-02:14 7/26/2021 Jason Reitman says: "First of all, I'm gonna point out that if you look at the top of the house, you see all these antennas and you know it was meant to kind of echo the top of Ecto-1."
- IGN YouTube "Ghostbusters: Afterlife - Exclusive Trailer Breakdown with Director Jason Reitman" 05:00-05:13 7/26/2021 Jason Reitman says: "First, you have the shot of the dry ice coming out of the chimney. And this is just another example of how much we wanted to do things practically. I think these days, you know, they would just do that all CG but we wanted to do practical effects as much as humanly possible."
- JTFPod YouTube "Ivan Reitman & Jason Reitman - Full Interview" 20:23-20:35 11/12/2021 Jason Reitman says: "By the way, by the way. When we wrapped shooting, we harvested the barley. We made it hulled. That's the one thing so far the Ghostbusters: Afterlife has made money on. We made money on our crop."
- Go Creative Show YouTube "Ghostbusters Afterlife Production Design (with Francois Audouy) GCS291" 17:39-17:52 12/6/2021 Francois Audouy says: "So yeah, the interior, the f-we did the first floor interior as a full dress on location and then ended up doubling that and moving the dressing over to a stage. The second floor was only on the stage set."
- Reddit user Tiefighter21 "Easter Egg from New Movie Which Came..." 11/4/2020
- Variety "How ‘Ghostbusters: Afterlife’ Pays Homage to the Original With Audio Easter Eggs" 11/24/2021 Will Files says: "We took the sound when Dan Aykroyd slides down the pole at the beginning of ‘Ghostbusters. We just stole it from the original and we put it into Phoebe's [scene]."
- Farley, Jordan (November 2021). Spiritual Reawakening, Total Film magazine #317, page 42. Future Publishing, UK. Line reads: "In order to recreate Egon's Proton Pack, Harold Ramis' original prop was Lidar-scanned, rebuilt "down to the millimetre" and aged to give it "the kind of battle scars you would think it would have by now"."
- Grove, David (November 2021). Ghostbusters: Afterlife Links The Original Busters To The Next Generation - And Pays Tribute To A Fallen Hero, SFX Magazine #345, page 32. Future Publishing, UK. Article reads: "I'll never forget pulling the original proton packs from Sony's archives in order to scan them for our own equipment. Violet Ramis, Harold's daughter, joined us that day and actually tried on her father's pack. She was nervous at first but eventually slipped her arms through the straps and took up the blaster. She began to well up, and by the time that she put the pack down, we were both shaking"
- Yes Have Some YouTube "Jason Reitman Interview - Ghostbusters Afterlife, Franchise Future, Bill Murray!" 6:48-7:26 11/25/2021 Jason Reitman says: "The image I always had was brings it out into a row of corn, fires it into the corn, the corn becomes popcorn, flies in the air and she catches it and she eats it like that was the image and we actually tried to shoot that. We we didn't quite pull it off and that's why it's not in the movie but but when I talked to Gil about it and Gil and I had been writing together and I really trust Gil as a storyteller and Gil's also an animator who who made Monster House and and Poltergeist and you know just has a sense of science fiction and horror that you know that isn't just not part of what I've done."
- Polygon "Ghostbusters: Afterlife director Jason Reitman crossed the streams of reality and sequel lore" 11/21/2021 Jason Reigman says: "Originally she was in a field of corn. She fired into the corn and the corn popped up into popcorn, she ate the popcorn and smiled."
- Collider Interviews YouTube "Finn Wolfhard and McKenna Grace on Ghostbusters: Afterlife Deleted Scenes" 5:19-6:00 mark 11/15/2021 Mckenna Grace says: "My hardest scene was one that got cut out as well. Yeah, there was a whole bit where I took the Proton Pack out into a field and so that was like an entire day of just lugging this huge thing. I had like red marks all up and down my shoulders afterwards like my shoulders were raw from it rubbing because they were like doing this light pack and and I was like 'no, it looks better with the heavy pack and it was just me like running through this field with this thing on for and the acting like doing that is so hard it's just 'Ah! Oh!' and he's like be louder. It was really difficult. There was like bugs all over but it was still like the coolest."
- The Hollywood Reporter "Carrie Coon on ‘Ghostbusters: Afterlife’ and Fact-Checking ‘Gone Girl’" 11/16/2021 Carrie Coon says: "When I was doing chemistry reads with the actresses who were auditioning for the part of Phoebe, Mckenna came in and that was the scene that we read. So I really gave it to her. We really did the scene, and it was really revealing how emotionally accessible Mckenna was in that moment during the audition."
- The Hollywood Reporter "Carrie Coon on ‘Ghostbusters: Afterlife’ and Fact-Checking ‘Gone Girl’" 11/16/2021 Carrie Coon says: "Well, they called me and said, "Can you bring all of your childhood photos to set with you?" So I got a collection. I also called my parents and had them send some over. You often have to send your photos in for jobs, but I couldn’t believe the one they chose for the hero shot in the scene. (Laughs.) I was really shocked that that was the choice they made. But it's interesting to think that my childhood photographs will be preserved in this iconic franchise for the rest of time. (Laughs.) It is kind of strange because those memories that I'm looking at on the wall are very real for me, so as an actor, it certainly makes that moment more accessible...Oh gosh, I think that was a college photo. Am I slide-tackling somebody? I love slide-tackling."
- Adam Savage's Tested YouTube "Adam Savage and Jason Reitman Talk Ghostbusters: Afterlife!" 20:25-20:46 11/23/2021 Jason Reitman says: "That's right and we sat down for breakfast one morning. We started talking through the script and you start talking to me about you know how this stuff would actually work. How ghostbusting equipment would actually work and there is a line where Phoebe is explaining to Trevor what a capacitor it-is and is based on the moment in which you told me what the f***ing capacitor was."
- Adam Savage's Tested YouTube "Adam Savage and Jason Reitman Talk Ghostbusters: Afterlife!" 20:47-20:57 11/23/2021 Adam Savage says: "There is a moment where you were shooting with Mckenna and you texted me and said here's the line I have for her. Is this the way she would say and I gave you two different reads and then I think I texted you afterward."
- Go Creative Show YouTube "Ghostbusters Afterlife Production Design (with Francois Audouy) GCS291" 15:23-16:20 12/6/2021 Francois Audouy says: "And then we also needed a house on stage because the third act which which I'm not going to spoil for everybody but the third act is set at night and the whole gang ends up there and we needed control to be able to shoot it at night with underage actors who are protected you know they can only shoot until like 9 or 10 o'clock at night right so they can't shoot all night long every day so we wanted to-we really needed the control for special effects and for shooting during the day of a stage set at night so that set was completely doubled up as an interior exterior on stage with corn that we had to harvest in southern Alberta and bring up and put on stands and a part of a barn and field the whole deal, lot's and lot's of detail there."
- Tested YouTube "The Production Design of Ghostbusters: Afterlife!" 4:02-4:34 1/26/2022 François Audouy says: "Half of what you see here is actually built twice, built again for the stage and then half of it we're actually moving and moving back to this--to the studio in the couple weeks that we have before between the sets or the week I think that we have between the sets for example, the trees are on metal plates and they just pick them up, they've got plastic plastic leaves, silks we call them, and it all just picked up and then set right onto the sound stage floor and the barn will cut up with a chainsaw basically and put it on a truck and set it up on the sound stage afterwards."'
- Tested YouTube "The Production Design of Ghostbusters: Afterlife!" 9:11-9:35 1/26/2022 François Audouy says: "They have to bring in corn all the way round the outside. Real corn that has to be harvested hundreds of miles away brought in trucks and then attached to basically repositionable little grids that can be moved around the perimeter and also we're putting a barley if you remember the other side has got a barley field and the barley has to become--come in on plywood basically to be set up on that side as well."'
- Tested YouTube "The Production Design of Ghostbusters: Afterlife!" 11:30-11:32 1/26/2022 François Audouy says: "Yeah, let's go check it out, it's the next stage over."'
- The Hollywood Reporter "Carrie Coon on ‘Ghostbusters: Afterlife’ and Fact-Checking ‘Gone Girl’" 11/16/2021 Carrie Coon says: "And his first day on set, there was a Cubs game on and he was trying to get the TV working in his trailer."
- Hasbro Pulse YouTube "Fan First Monday | Ghostbusters HasLab Plasma Series Spengler's Proton Pack Livestream" 38:34-39:04 11/22/2021 'Ben Eadie says: "The thing is that Bill Murray, you love him but like when he'd done acting, he just starts walking off the set and he's stripping down. He'll put things down and you know the the pack will be laying on the floor and his belt will be on the table somewhere so if you're not on them and following them around you're going to lose pieces so you know and when things get put down they, you know, people might be walking past and in this case Bill put down the pack somewhere and somebody kicked it. It knocked a few pieces loose but you know, you come in and glue it."
- Vanity Fair "The Day Bill Murray, Dan Aykroyd, and Ernie Hudson Became Ghostbusters Again" 11/22/2021 Line reads: "The first thing Hudson, Murray, and Aykroyd shoot that morning is getting cast aside. Gozer hurls the Original Ghostbusters (a.k.a. The OGBs, as they were nicknamed on set) back against the steel hull of the Ecto-1. This plot point literally makes the absence of Egon hurt."
- Vanity Fair "The Day Bill Murray, Dan Aykroyd, and Ernie Hudson Became Ghostbusters Again" 11/22/2021 Line reads: "After feeling awkward for the first few days, what finally energized Murray was the chance to improvise again while Venkman lay sprawled with his cohorts beside the vehicle. "Bill is keeping her distracted with talking, while you raise the proton gun," Jason Reitman said, showing the fallen Hudson how he wanted him to slyly slip his neutrona blaster into position. In the script, Venkman decides to taunt Gozer by imagining a far more intimate relationship than the two actually had back in the '80s, with Murray adding new flourishes on every take, only some of which ended up in the finished film. "You know, you wasted a lot of time putting on that make up," he yells. "It's not going to work anymore. You've got a lot of nerve trying to crawl back." "The scene I just did now, it was fun," Murray said afterward. "I got to just say what I wanted to say, and it was always that way. The script was just our jumping off point." As Murray added variations to his insult barrage, Wolfhard, whose character is hiding near the collapsed OGBs, asked Jason Reitman: "Can I laugh?" He suggests maybe that will irritate Gozer even more. The director urges him to keep playing the moment low-key."
- Vanity Fair "The Day Bill Murray, Dan Aykroyd, and Ernie Hudson Became Ghostbusters Again" 11/22/2021 Line reads: "But Gozer was also cracking up. Olivia Wilde, who sported the extreme pompadour hairstyle and scaly boils and baubles of the monster in Afterlife, sometimes had difficulty keeping a straight face. At one moment during Murray's epic roast of Gozer, Wilde broke and laughed out loud. "You got me on that one," she told him. "Too far. TOO FAR!""
- Vanity Fair "The Day Bill Murray, Dan Aykroyd, and Ernie Hudson Became Ghostbusters Again" 11/22/2021 Line reads: "While Hudson prepared to take his shot, Reitman encouraged Aykroyd to join in the verbal jabs. "For Stantz, I feel like your insults would be about her actual cosmic properties," the director said."
- Adam Savage's Tested YouTube "Adam Savage and Jason Reitman Talk Ghostbusters: Afterlife!" 18:08-18:32 11/23/2021 Jason Reitman says: "You know there's a moment where Bill goes, and this is his not mine, he goes "Count of three, go on two, one two blast." And we're all sitting there at monitor and he says that it's not rehearsed. He just says it and everyone on a monitor goes okay that's an iconic line like it's just right there."
- Vanity Fair "The Day Bill Murray, Dan Aykroyd, and Ernie Hudson Became Ghostbusters Again" 11/22/2021 Line reads: "As they work through their takes, Murray couldn't help but torment his costars a little too. He brushed away some of the dirt and straw on the ground to reveal a rectangular shape beneath Hudson. "Have you got a pad here!?" asked Murray, who did not have one himself. He narrowed his eyes at Hudson and shook his head. "You're soft," he declared. Hudson played it off with a grin. "Nah," he said. "That was for the stunt man!" Then he leaned back and luxuriated in his camouflaged comfort spot."
- Yes Have Some YouTube "Ghostbusters: Afterlife - Logan Kim Interview - YHS Podcast" 25:28-25:41 12/1/2021 Logan Kim says: " I lost my voice after that scene. I screamed. Oh yeah. They like flung marshmallow at me. One just got in my eye but I kind of "Ahhh!" It was a lot of fun."'
- Vanity Fair "The Day Bill Murray, Dan Aykroyd, and Ernie Hudson Became Ghostbusters Again" 11/22/2021 Line reads: "Throughout the process, the filmmakers were determined to handle the moment with a sense of awe and respect. Jason Reitman hired Bob Gunton, perhaps best known as the warden from The Shawshank Redemption, to do the performance capture for Egon, saying the seasoned actor brought a strength and presence that radiates through the ethereal glowing effects. Gunton sported the character's high cockatoo hair, but his face was replaced with a digital image of Ramis. Though he didn't have any spoken lines, his silent facial expressions echo in in the ghostly onscreen version of Egon. "
- Ghostbusters News "Original Ghostbusters Director Stood in as Egon Spengler in Afterlife 11/25/2021
- Yes Have Some YouTube "Ben Eadie - Ghostbusters: Afterlife Props, RTV Trap, & Stories from set" 1:08:08 12/3/2021 Ben Eadie says: "Traps in Field are Spirit Traps."
- Yes Have Some YouTube "Ben Eadie - Ghostbusters: Afterlife Props, RTV Trap, & Stories from set" 1:08:21-1:08-23 12/3/2021 Ben Eadie says: "I think there was over a hundred."
- Yes Have Some YouTube "Ghostbusters: Afterlife - Logan Kim Interview - YHS Podcast" 24:32-25:13 12/1/2021 Logan Kim says: "So it was a mix of of like this marshmallowy substance with cornstarch in it or whatever and it would kind of become Jello almost and they-it was an hour long process and they would glue some to my face all around and then the ecto goggles were not actually there. It was just they were but it was kind of a a separate prop that was covered in the goop so it was just-just the tips hanging out. You could see. They would just put other shaving cream on me so just to add to the effect-it was a-the suit was really moist. Not very comfortable."'