Chapter 15 features the children recovering Ecto-1 and the gear then confronting Gozer.
Listed as they appear in film.
- Phoebe Spengler
- Trevor Spengler
- Lucky Domingo
- Terror Dogs
- Callie Spengler
- Gary Grooberson
- Ivo Shandor
- Miner Ghost
- Bug-Eye Ghost
- Flaming Phantasm
- Peter Venkman (voice only)
- Summerville County Sheriff's Department
- Shandor Mining Company
- Temple of Gozer
- Spinners Roller Hop
The children ran into the empty sheriff's office. Lucky hopped over the counter and checked the radio. There were weird sounds coming over the radio. Podcast touched spilled liquid from a cup on its side. He tasted it and confirmed the sheriffs were just there. Lucky and Trevor ran down a corridor and found Ecto-1 up on a lift. Podcast and Phoebe searched the evidence room, dumping stuff on the ground. Podcast checked on Phoebe's progress. Phoebe replied she was only finding more stupid guns. Podcast went around a corner and was in awe of finding jail inside a jail. The Remote Trap Vehicle, controller, Proton Pack, and Ecto Goggles were behind bars. Phoebe caught up him and became upset. She explained the cell was secured with an ANSI Class One electromagnetic deadbolt. Podcast reaffirmed he believed in her. She stated it was unpickable. Podcast looked inside and got an idea. He reached for the controller then flipped the red cover on the controller. Phoebe ordered him to wait but it was too late. Muncher was released. Podcast and Phoebe backed up. Muncher immediately bent and ate many of the metal bars, making a sizable hole. He squeezed out of and flew up through the ceiling. One side of the door creaked open. They ran inside. Phoebe pushed the equipment on a cart to the rear of Ecto-1. Trevor handed the equipment to Podcast inside. The garage door moved up, revealing Ecto-1's grill. Lucky got into a squad car. Trevor, from Ecto-1, asked her if she was ready. Lucky teased she would be waiting. Lucky turned left. Trevor turned right with the sirens on. Ecto-1 passed by a Stay Puft Marshmallows mural on the side of a building. They drove the dirt road to Shandor Mining.
Zuul and Vinz walked hand in hand to the temple stairwell in the mine. Ecto-1 was off to the side. Podcast and Phoebe sneaked in closer on foot and took cover. Zuul and Vinz took their places on each side then raised their arms up. Gozerian lightning from the disturbance above the mine struck Zuul and Vinz. Trevor was confused. Vinz and Zuul transmogrified into their Terror Dog forms. Phoebe and Podcast were in dismay. Wisps continued flying out of the pit. One wisp flew through and shattered Ivo Shandor's glass tomb. A figure climbed out of the pit. It was Gozer.
The wisps flew around the town. People looked on.
Gozer climbed out of the pit like an animal. Ivo Shandor approached Gozer and formally addressed her as "Your Eminence. Goddess of Gods." He explained to her that he built the temple for it, so that it might return to Earth.
A server inside Spinners poured coffee for a patron. The patron was a Miner Ghost. Outside a Flaming Phantasm chased after people and a fire truck. She realized the patron was not a person. The Miner Ghost turned his head at her.
Shandor suggested they could rule the world together. Gozer placed her hands on both sides of Shandor's head and ripped him in two.
A fissure opened up in center of a street in town.
Gozer scratched the chin of Zuul. The Terror Dogs hopped back down to their places.
It was 6:05 on the clock posted on the sidewalk. An eyeball popped out of the garden center followed by the rest of the entity, the Bug-Eye Ghost. It vocalized and flew off. The wisps flew around in a circle above the mine. Gozer sat on its throne then went into a relaxed pose. Trevor continued to wait inside Ecto-1. Phoebe approached the stairwell and got Gozer's attention. Podcast got the remote control ready. Phoebe asked, "What do you call a fish with no eyes?" She replied, "A fsh..." Gozer stared at her. The Remote Trap Vehicle drove to the rear of Zuul. Phoebe told Gozer, "There's two whales in a bar." The Remote Trap Vehicle bumped Zuul's rear foot and reversed. Podcast ducked down before Zuul spotted him. Phoebe imitated a whale sound. She continued her joke, "And then the other one goes: "Go home. You're drunk."" Gozer sat up and stood. The Remote Trap Vehicle drove under Zuul. Phoebe told another joke, "So a grasshopper walks into a bar... and the bartender's like: "We have a drink named after you." Then the grasshopper's like: "You have a drink named Steve?"" Gozer asked Phoebe if she came to offer herself in sacrifice. Phoebe was lost. Gozer asked her if she was prepared to die. Phoebe stated she was not because she was only 12. The Remote Trap Vehicle got into position under Zuul. Phoebe asked Gozer if she was. Gozer was mildly puzzled. Podcast opened the Trap and captured Zuul. Gozer violently reacted and energy shot out of its body. Callie appeared and fell down the stairs. Trevor started up Ecto-1 and the sirens turned on. It slid in with its rear facing the stairs. The Remote Trap Vehicle headed down to it. Gozer dropped to its knees. Podcast and Phoebe headed into the rear with Callie. Phoebe closed the door and Ecto-1 took off. The Remote Trap Vehicle followed close behind. Phoebe switched on the Particle Thrower.
Callie came to and asked what was going on. Phoebe told her it was okay. Podcast informed her she was possessed. Phoebe added she turned into a dog. Podcast added she got kind of "humpy." Callie was only getting more lost. Trevor yelled out for everyone to hold on. They turned at Spinners. Podcast lowered the hatch for the Remote Trap Vehicle. Callie remembered the underground laboratory. Phoebe cut her off and told her she knew about it. Callie recalled seeing computers and equipment. Podcast thought the place was insane. Callie agreed and revealed she sussed out her father had a plan. Phoebe informed her they were aware. Callie remembered seeing all the photographs of her and realizing Egon was tracking her entire life. Podcast found that rewarding. Phoebe thought it was super but Trevor pointed out they were in the middle of trying to save the world. Callie wanted in. Vinz Clortho made a move for the Remote Trap Vehicle but missed. Podcast steered it to the sidewalk. Callie asked what that was. Trevor replied that was her boyfriend Gary. She took issue with "boyfriend." Vinz chased the Remote Trap Vehicle onto the sidewalk. He rammed into benches, tables, chairs, and newsstands before stumbling and tripping. Phoebe told her the Gatekeeper was in the Trap and her reunited with the Keymaster was bad. Callie was not catching on. Phoebe put a pin in it, pulled the lever, and moved outside on the gunner chair then she blasted Vinz. Vinz yelped. Phoebe returned inside. Callie was shocked. Phoebe stated she was a scientist. The Remote Trap Vehicle reached the ramp but faltered then finally entered the car. Phoebe continued explaining the plan to Callie. Ecto-1 plowed through some of the Revelation signs. They screamed. Ecto-1 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 disturbance 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.
- The garage Ecto-1 exit out of the sheriff's department was filmed at Crossfield Automotive next to where the sheriff's office was filmed.
- The shot of the garage door rising up mirrors when the Ecto-1 drove out of the Firehouse to head to the Sedgewick Hotel in the first movie, Chapter 11: "We Got One!"
- The Stay Puft Marshmallows mural was actually a 20 foot concrete vinyl applied to the brick building using heat guns.
- After leaving the sheriff's office, Ecto-1 turns and passes by a Stay Marshmallows mural on the side of a building. This was filmed on Railway Street in Crossfield on the side of A&B Liquor Store building across the street at 1202 Railway (Railway St. and Nanton Avenue).
- The shot of Ecto-1 turning past the Stay Puft Marshmallows sign was a recreation of the shot of Ecto-1 leaving the Firehouse after the Ghostbusters got their first call, seen in Chapter 11: "We Got One!"
- The "Gozerian clouds" were taken from the original 65 millimeter cloud tank footage from the first Ghostbusters movie stored in salt mines in Kansas by the movie studio.
- Possessed Callie and Grooberson's transformation into Terror Dogs mirrors Dana Barrett and Louis Tully's transformation in the first movie, Chapter 25: Working the Crowd.
- Phoebe's reaction to the transformation and Zuul's head turn was a nod to a similar sequence between Peter and Zuul in the first movie, Chapter 25: Working the Crowd.
- The Terror Dog puppets were too heavy for the initial temple set so it had to be reinforced overnight to compensate.
- There was talk of Arjen Tuiten's shop doing stop motion animation for the parts when the Terror Dogs run up the stairs and when Callie and Gary transform. However, they simply ran out of time during production and the idea was discarded.
- Jason Reitman reached out to Olivia Wilde via text and asked if she wanted to be Gozer in Ghostbusters: Afterlife.
- Emma Portner portrayed Gozer in Ghostbusters: Afterlife whenever unusual body language was required and did the body performance for the spirit of Gozer.
- Originally, Gozer's eyes were red but for unknown reasons, they were changed to black in post-production.
- It was Olivia Wilde's idea to add more spikes to the Gozer suit.
- Olivia Wilde wasn't available to fittings prior to filming so Arjen Tuiten and his team had to figure it out on the fly the morning of Wilde's scenes.
- Preparation for Olivia Wilde took five and half to six hours each day to get into costume and make up.
- From the upper torso up to her mid-section, Wilde wore a zip-on silicon piece. Everything else was prosthetics. There was a forehead piece but Tuiten's team decided not to use it.
- Gozer's throne was inspired by the basalt rocks in Northern Ireland's Giant's Causeway and the Italian architect Carlo Scarpa.
- When Ivo Shandor is ripped apart by Gozer, an animatronic puppet with a switch blading mechanism was used. J.K. Simmons got to watch his puppet being ripped in half.
- Arjen Tuiten looked at hairstyles of the early 1900s and even Charles Dickens and did one concept design of Ivo Shandor. Jason Reitman immediately signed off on it. Two replica dummies were made total. Tuiten made one replica dummy of J.K. Simmons for the scenes when Shandor is in his coffin because Simmons would only be on the set for 1 to 2 days whereas filming for that scene was 10 days. The scene of Gozer ripping Shandor in half was filmed twice. The reset took only four minutes.
- Mitch Devane was the primary sculptor of the dummy while Tim Gore was the lead on painting the heads and hands. The dummy that split into was headed by mold supervisor Brian Rae.
- The regular dummy was made of silicone with an armature to ensure weight and positioning would stay correct when it was laid down in the glass coffin. The splitting dummy had no issues on the set. It was filmed twice.
- The crew found the original special effects 70 mm footage of the pink P.K.E. streaks flying through the city, scanned them, and re-used them for shots in Summerville.
- Ivan Reitman suggested more wind on the set of Afterlife.
- The montage of ghosts terrorizing background actors was on 3rd Avenue and Centre Street in Drumheller.
- The Miner Ghost's name was first revealed in the Clue Ghostbusters: Afterlife Edition board game.
- The Miner Ghost was puppetry designed by Arjen Tuiten and meant as a homage to the Zombie Taxi Driver from the first movie.
- Arjen Tuiten realized there wasn't a ghost similar to the Zombie Taxi Driver in the script and pitched his idea to Jason Reitman. It was approved. Tuiten assembled a puppet from what was still lying around his shop.
- There were several ideas for the ghost, including a school bus driver and a ghost that talks to the kids on the phone. Tuiten eventually got an idea to make him a ghost of one of Ivo Shandor's miners. Danny Glicker worked on the costume outfit.
- Arjen Tuiten mechanized an old legless skeleton in the shop, Tanner White mechanized the hands, and Bill Sturgeon did the eyes. Tuiten used old foam latex leftover from work on the Terror Dog and sculpted a face. The Miner Ghost was the first practical ghost Tuiten and his team filmed on the set. Three puppeteers operated the Miner Ghost, Tuiten, Ron Binion, and Richard Landon. Landon puppeteered the eyes off-camera with a remote control. Tuiten cable controlled the facial expressions underneath the counter. Binion operated the arms and hands. Initially, the Miner used his left arm. On the morning of rehearsal, Jason Reitman decided it would be the right arm instead. Filming only took one day.
- Bug-Eye Ghost is based on the Bug-Eye Ghost made by Kenner in 1987 as part of its The Real Ghostbusters toyline.
- The Bug-Eye Ghost was added into the movie during the delay caused by the start of the covid pandemic.
- The top of the Summerville Miners Memorial Is overflowing with ectoplasm. The base of the memorial has the date of the tragedy as May 20, 1945 and includes names of the miners who died. The side of the base was briefly seen during the Muncher chase when Ecto-1 turns at the post office.
- A building is named after the late Tom Pollock, a studio executive, producer, and co-owner of The Montecito Picture Company along with Ivan Reitman. The building also bears Pollock's birth year of 1943. In the final days of post-production, Jason Reitman digitally replaced "Newcastle" with "Pollock" in memory of him.
- In one cut, Phoebe told more jokes to Gozer.
- Phoebe tells Gozer she's 12 years old.
- The shot of the RTV going up the ramp in to Ecto-1 is flipped, evidenced by the letters on the store signs in the background.
- 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.
- Tested YouTube "Adam Savage Visits Ghostbusters: Afterlife's Art Department!" 1:42-1:52 2/1/2022 Marie Massolin says: "Yes, it's about 20 feet so it's quite large. We did something fun where we actually color match the brick. We got a pantone for it and then and then this whole thing's actually printed. So we printed it on vinyl and then it's called a concrete vinyl and they bring heat guns and it sticks to every groove and nick and cranny of the brick so it looks like it's been painted on there but we actually just rolled it on one day, put some heat guns to it, and brick painting."
- IGN YouTube "Ghostbusters: Afterlife - Exclusive Trailer Breakdown with Director Jason Reitman" 09:49-9:59 7/26/2021 Jason Reitman says: "This shot is also the tail end of a recreation of a shot from '84 of Ecto-1 flying out of the Firehouse. You know, there's that great 180 it does that they had to undercrank you know in a Chaplan-esque way back in '84 and we wanted to get the car going so fast that it cooked on its own."
- JTFPod YouTube "Ivan Reitman & Jason Reitman - Full Interview" 24:53-25:53 11/12/2021 Jason Reitman says: "And the truth is we asked for them, they were able to locate them almost immediately. We zeroed in on the scenes we wanted and we got everything from original dailies to 65 millimeter cloud tank footage that we used for those you know Gozerian clouds and we even found a piece of footage that truly, personally, was lost to history and those were the two takes that I originally was supposed to appear in Ghostbusters '84. I was cut out for reasons that one could possibly never understand and however, I, we scanned them and put them into Ghostbusters: Afterlife thus restoring my six-year-old performance back to where it belongs."
- Ghostbusters Interdimensional Crossrip "#743 - Arjen Tuiten, Special Make-Up & Live Acton Creature Effects Designer" 16:26-17:18 11/29/2021 Arjen Tuiten says: "The mechanics were designed by Bill Sturgeon who actually worked on the first one at Boss Films. I think he was 21, 22. He actually designed the mechanics for this one but it was all steel and laser cut and milled out. It was-we had a wheel rig underneath that. We could lift him up on and it took about seven puppeteers to bring him to life. But nowadays, not everyone is-they're expecting these weight issues so when we arrived on this temple set, it was beautifully done, but I remember the temple was made out of a certain foam-type with structures of wood in it. It wasn't strong enough to hold the Terror Dogs and nobody had thought of that. It was reinforced overnight."'
- Ghostbusters Interdimensional Crossrip "#743 - Arjen Tuiten, Special Make-Up & Live Acton Creature Effects Designer" 19:58-20:15 11/29/2021 Arjen Tuiten says: "There was talk at some point. 'Oh maybe we could do this as a stop motion.' Where it's running up the stairs of the temple and like Paul Rudd is changing into the Terror Dog. We do that as a stop motion. But I think we simply just ran out of time."'
- The Wrap "‘Ghostbusters: Afterlife’ Director Jason Reitman Explains How That Surprising Casting Happened" 11/26/2021 Jason Reitman says: "I reached out to her like, 'Hey, you wanna be Gozer?' I just texted her, and she was down from the word go."
- The Wrap "‘Ghostbusters: Afterlife’ Director Jason Reitman Explains How That Surprising Casting Happened" 11/26/2021 Jason Reitman says: "had to do unusual body language...the body performance of the spirit of Gozer was Portner, who is absolutely extraordinary. She's literally one of the great dancers alive and totally cool, and did a lot of that work out there in that dirt field."
- Ghostbusters Interdimensional Crossrip "#743 - Arjen Tuiten, Special Make-Up & Live Acton Creature Effects Designer" 36:47-36:55 11/29/2021 Arjen Tuiten says: "I did give her red eyes actually and surprised to see in post production, they turned them black for some reason."
- Ghostbusters Interdimensional Crossrip "#743 - Arjen Tuiten, Special Make-Up & Live Acton Creature Effects Designer" 37:59-38:10 11/29/2021 Arjen Tuiten says: "The spikes were actually something that Olivia came up with. She said 'Oh, it would be kind of nice if we had some little bit more spikes to tie in with the Terror Dog.' And I liked that a lot and gives her a sense of danger as well."
- Ghostbusters Interdimensional Crossrip "#743 - Arjen Tuiten, Special Make-Up & Live Acton Creature Effects Designer" 35:20-35:23 11/29/2021 Arjen Tuiten says: "We had to figure her out the morning of."'
- Ghostbusters Interdimensional Crossrip "#743 - Arjen Tuiten, Special Make-Up & Live Acton Creature Effects Designer" 34:33-34:37 11/29/2021 Arjen Tuiten says: "The actual make up took five and a half to six hours each day."
- Ghostbusters Interdimensional Crossrip "#743 - Arjen Tuiten, Special Make-Up & Live Acton Creature Effects Designer" 37:08-37:33 11/29/2021 Arjen Tuiten says: "Her upper torso to her mid-section was a zip-on silicone-very thin silicone-piece. And then her legs and her hands, her feet, everything was prosthetics. Her neck going. We actually had a forehead piece but we opted the morning of not to use that."
- Inguanzo, Ozzy (2021). Ghostbusters: Afterlife The Art and Making of the Movie, p. 150. Titan Books, London UK, ISBN 1789096529. Line reads: "His Gozerian inspiration came from the basalt rocks in Northern Ireland's Giant's Causeway and the Italian architect Carlo Scarpa, who would turn stair steps into coffered ceilings, doorways, and fountains. Audouy's take involved forming the throne from the protruding stairway, creating a modernist shape out of the same rock slab, and without much detail."
- Yes Have Some YouTube "Jason Reitman Interview - Ghostbusters Afterlife, Franchise Future, Bill Murray!" 29:32-30:33, 30:40-30:46 11/25/2021 Jason Reitman says: "That's actually an animatronic puppet so when he gets ripped in half, yeah, I remember we had a conversation with the visual effects team and they're like, "All right, we've budgeted a lot for this human body getting ripped in half," and I was like, "Oh, no, no, no, we're doing that practically." "What?" Yeah and I remember like being "Yeah, it's really simple you know it's just going to be like you know we'll draw-we'll draw like a it'll be like it's like a it will make like a head with a body and you'll see her face like in between it and yeah and like," and then I talked to Aryan who's the brilliant you know creature creator who brought the Terror Dogs back to life and he was totally into it and we created this like switch blading mechanism that was a body into and we just filled it with goo and then you just rip it right apart and that was a delight...Well, he got to watch himself get ripped apart which I think was kind of fun, too, you know he actually like got to see his own body rip into which yeah don't we all--"
- Ghostbusters Interdimensional Crossrip "#743 - Arjen Tuiten, Special Make-Up & Live Acton Creature Effects Designer" 31:47-31:54 11/29/2021 Arjen Tuiten says: "I basically looked at hairstyles of that era. I did one concept design. Only one. And he immediately signed off on it."
- Ghostbusters Interdimensional Crossrip "#743 - Arjen Tuiten, Special Make-Up & Live Acton Creature Effects Designer" 32:07-32:15 11/29/2021 Arjen Tuiten says: "I gave him the little beard and a little bit Charles Dickens and stuff, anything from that time."
- Stan Winston School "The Phantasmic Makeup & Creature FX of Ghostbusters: Afterlife" 1/11/2022 Arjen Tuiten says: "We did two dummies, one that was lying in the coffin and one in the mine shaft."
- Ghostbusters Interdimensional Crossrip "#743 - Arjen Tuiten, Special Make-Up & Live Acton Creature Effects Designer" 32:17-32:20 11/29/2021 Arjen Tuiten says: "What they were asking me about was a replica dummy of J.K. Simmons that lays in the coffin."
- Ghostbusters Interdimensional Crossrip "#743 - Arjen Tuiten, Special Make-Up & Live Acton Creature Effects Designer" 32:22-32:31 11/29/2021 Arjen Tuiten says: "Because J.K. Himself only filmed for maybe a day, day and a half or two days. But they needed a body in the coffin a lot longer. I think we shot 10 days with that in that mine."
- Ghostbusters Interdimensional Crossrip "#743 - Arjen Tuiten, Special Make-Up & Live Acton Creature Effects Designer" 33:08-33:10 11/29/2021 Arjen Tuiten says: "It was beautifully designed by Brian Rae."
- Ghostbusters Interdimensional Crossrip "#743 - Arjen Tuiten, Special Make-Up & Live Acton Creature Effects Designer" 33:17-33:42 11/29/2021 Arjen Tuiten says: "We shot it twice... It's a pretty fast reset. No, no. It literally took four minutes. It was a very seamless puppet that splits from the top open. And we just reset the slime from the inside."
- Stan Winston School "The Phantasmic Makeup & Creature FX of Ghostbusters: Afterlife" 1/11/2022 Line reads: "Mitch Devane was the primary sculptor for the Ivo dummy while Tim Gore took the lead on painting the heads and hands. For the splitting dummy, Arjen's team, led by mold supervisor Brian Rae, had to create a mechanical device that would split open on cue. Thankfully on the shoot day the gag went off smoothly."
- Stan Winston School "The Phantasmic Makeup & Creature FX of Ghostbusters: Afterlife" 1/11/2022 Line reads: "The non-splitting dummy was made of silicone with an armature to ensure that the weight and positioning would be correct when it was laid into the coffin. It was created for the sole purpose of combatting scheduling and timing issues so that J.K. Simmons would not have to be in scenes unnecessarily."
- Stan Winston School "The Phantasmic Makeup & Creature FX of Ghostbusters: Afterlife" 1/11/2022 Arjen Tuiten says: "We dressed with slime, shot it twice, and that was it. We had it. It was a success, and they loved it."
- IGN YouTube "Ghostbusters: Afterlife - Exclusive Trailer Breakdown with Director Jason Reitman" 07:12-07:25 7/26/2021 Jason Reitman says: "We actually found the original special effects 70 mm footage and scanned it, so, again we were always attempting to go back to the original recipe and recapture as much as humanly possible."
- IGN YouTube "Ghostbusters: Afterlife Director Jason Reitman on Fan Service and Revealing the Movie's Secrets" 2:00-2:19 11/13/2021 Jason Reitman says: "Even just little things like 'You need more wind.' Ghostbusters always has wind. That's who we knew there are ghosts there. You see their hair fluttering. Their clothes fluttering. You see the leaves blowing. It's the presence of a ghost we notice through the wind. Things like that. We had a truck full of fans. We had everything from leaf blowers to six foot ritters."
- Rob on Location "Ghostbusters: Afterlife" 10/1/2021 Article reads: "Filming took place all along 3rd Ave and Centre Street. We see scenes of Phoebe and Podcast walking down the sidewalk, the Ecto-1 racing down the street, and scenes of ghosts terrifying some background actors."
- IGN YouTube "Ghostbusters: Afterlife - Exclusive Trailer Breakdown with Director Jason Reitman" 07:25-07:37 7/26/2021 Jason Reitman says: "You're also gonna see a skeletal ghost in this section. That was a piece of puppetry designed by Arjen obviously meant to echo the taxi driver ghost from the original."
- Ghostbusters Interdimensional Crossrip "#743 - Arjen Tuiten, Special Make-Up & Live Acton Creature Effects Designer" 26:27-27:06 11/29/2021 Arjen Tuiten says: "And I remember a moment in the shop. Y'know, I kinda-after reading the script, it kind of dawned on me, it was kind of missing a human form or skeleton-like ghost that was equally cool or a shout out to the Cabbie Driver in 1984. I emailed Ja-I think I called him or something. We were on the phone about something else and I was 'Y'know, I miss the skeleton like that-' He's like 'You're absolutely right. We need to find a spot somewhere.' And he said 'What can you do?' Let's see what I have lying around and we'll just build something."'
- Ghostbusters Interdimensional Crossrip "#743 - Arjen Tuiten, Special Make-Up & Live Acton Creature Effects Designer" 27:08-27:55 11/29/2021 Arjen Tuiten says: "And we didn't know where he was going to appear. At some point he was going to be in the school bus. The school bus driver and at some point he was on the phone with the kids. Like he panned back to the other side of the line and he hanged up the phone. Like they realized they talked to a ghost. There was a bunch of ideas coming around. And eventually Jason was 'I got it! He's at Spinner's Diner-he's at the roller hop' and I'm like 'Ooh, perfect. He's at the counter.' He's like 'Yeah, he's drinking coffee and he was a miner.' It fit because he-I figured it out-he's one of Ivo Shandor's miners. Perfect, it's meant to be. I'm like that's exactly what it needs to be and Danny Glicker did an amazing costume outfit for him and there he was."'
- Ghostbusters Interdimensional Crossrip "#743 - Arjen Tuiten, Special Make-Up & Live Acton Creature Effects Designer" 28:11-28:18 11/29/2021 Arjen Tuiten says: "And coincidentally, the Miner Ghost were first-was the first practical ghost we showed up with on the set."'
- Ghostbusters Interdimensional Crossrip "#743 - Arjen Tuiten, Special Make-Up & Live Acton Creature Effects Designer" 29:15-30:12 11/29/2021 Arjen Tuiten says: "I basically took an old skeleton I had laying around and mechanized him. Tanner White, one of my guys, mechanized the hands. And I think Bill Sturgeon did the eyes. And I built him out of just pieces of old foam latex that were leftover from the Terror Dog. Like little skins and stuff. Sculpted a face for him. And it took three puppeteers on set. He has no legs when he's sitting at the bar stool at the counter and I was underneath the counter with another master puppeteer Ron Binion. Richard Landon puppeteered the eyes off-camera. And then his facial expressions from the brow to the mouth to the jaw even though you don't see him opening up are all cable controlled which I was doing underneath the counter and then Ron was doing the arms and the hands."'
- Ghostbusters Interdimensional Crossrip "#743 - Arjen Tuiten, Special Make-Up & Live Acton Creature Effects Designer" 30:21-30:24 11/29/2021 Arjen Tuiten says: "The eyes were RC."'
- Ghostbusters Interdimensional Crossrip "#743 - Arjen Tuiten, Special Make-Up & Live Acton Creature Effects Designer" 30:50-30:55 11/29/2021 Arjen Tuiten says: "But then the morning of rehearsing, Jason switched from the left arm to the right arm."'
- Ghostbusters Interdimensional Crossrip "#743 - Arjen Tuiten, Special Make-Up & Live Acton Creature Effects Designer" 31:02-31:05 11/29/2021 Arjen Tuiten says: "We shot one day with him and he was wrapped."'
- The Containment Unit YouTube "Brynn Metheney (Concept Artist, Ghostbusters: Afterlife) Interview!" 16:30-17:28 1/26/2022 Brynn Metheney says: "No, he was such a surprise and what was interesting was he-and this is, I mean I'm sure you might know this but he came about because the film was delayed because of covid and so we had time and so they were like 'Well, that if we put in another ghost? How about Bug-Eye?' Because someone had someone, I think Jason, or someone was like 'Bug-Eye's a good one. He's kind of an obscure ghost that the fans really love and it'll be you know a ton of fun and so I remember literally sitting there just sketching Bug-Eye while I was sitting next to Jason on a couch while we were talking about it like and it was that right at the beginning of the covid stuff, we weren't even wearing masks or anything because we didn't know what to do like we hadn't really received the rules yet and so we were like "Oh" so yeah Bug-Eye was such a wonderful surprise and it was great, too, because I told my husband 'Oh I'm you know I'm designing this ghost and I showed him the image and he was like 'Oh, I had that toy as a kid. Oh my God!' so it was cool."
- Ghostbusters Deutschland "Ghostbusters 3: The Memorial" 8/28/2019
- Inguanzo, Ozzy (November 2021). Ghostbusters: Afterlife The Art and Making of the Movie, p. 42. Titan Books, United Kingdom, ISBN 1789096529. Caption reads: "In the final days of post-production, Jason Reitman digitally replaced "Newcastle" with "Pollock" in memory of executive producer Tom Pollock, who had recently passed away."
- Frame.io "Art of the Cut: Bringing Ghostbusters Back to Life" 12/1/2021 Nate Orloff says: "There are more jokes that Phoebe told at the stairs and it was very long because I just cut every joke in because they shot a lot of jokes to find the best one. So we're watching the assembly with the assistants and it turns into a comedy club."
- 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."
Images were grabbed from the Blu-ray by Paul Rudoff. Black bars have been removed, which leaves all images at a 2.40:1 aspect ratio.
Behind the Scenes
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