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Chapter 16 features the Ghostbusters joining the battle against Gozer.


Listed as they appear in film.







Ray Stantz, Peter Venkman, and Winston Zeddemore stepped out in their flight suits and had 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." Peter declared they were all gods and 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 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. It turned its head. Phoebe has the Proton Pack on. 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 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 Traps 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's essences were pulled in, too, and their bodies roasted in the process. The Terror Dogs fell to their stomachs. 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. 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.

One evening, Ecto-1 drove across the Brooklyn Bridge into New York City. The siren blared.

Dana Barrett held up the three wavy line Zener card. Peter Venkman was seated across from her. They are in their home in upstate New York. She asked him what the card was. Peter closed his eyes and concentrated. He saw two then firmly stated he saw three wavy lines. She revealed the card to him and found it amazing. Peter contended she was amazing with her ability to flood his psychic powers. Dana held up another card then brought up how she could not believe he used to shock his students. Peter admitted he only zapped the guys. Dana switched on the electro-shock machine he used back in 1984. Peter was hooked up to it and got zapped. He admitted he now knew it was flawed science. Dana asked him him if he was ready for the next card. Peter guessed a five-pointed star. She placed the card down in amazement and asked how he was doing it. Peter brought up the belief that true love imbues a subject with abilities. She zapped him again and asked him if he marked the cards. He denied it. She repeated the question. He nodded and admitted he did. She zapped him again. He recoiled in pain. Dana tapped the box on both sides and smiled. She declared the machine worked well.

Janine Melnitz met with Winston Zeddemore in his firm. She had the lucky coin she gave to Egon in 1984 before the Ghostbusters left to confront Gozer. Winston noted Egon was the brains, Ray was the heart, and Peter just kept it cool. Janine asked him who he was. Winston answered he was the sex appeal. She smiled and chuckled. Winston grinned. Janine noted he had done very well for himself. Winston reflected on his career and told her he did it for his children. He wanted to be an example of what was possible. Janine asked him if he was still covering the rent at Ray's bookshop. Winston still had hope Ray's Occult was going to turn a profit one of these days. She laughed and remembered the day he came into the Firehouse for a job. Winston admitted he came in looking for a steady paycheck but busting ghosts with the guys taught him not to be afraid because he had the tools and the talent. He revealed he started his business with one employee and grew it into a thriving global enterprise. He declared while he may be a businessman, he would always be a Ghostbuster.

Winston entered the rundown Firehouse through one of the inner doors and looked up a fire pole in the garage bay. The doors of the Firehouse opened up. Winston motioned the driver to drive Ecto-1 inside. He placed a hand on the hood. In the basement, a red light on the Containment Unit was blinking. It made an odd sound.

Mooglie is replaced in No Ghost logo by a Mini-Puft.


  • 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.[1]
  • 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.[2]
  • 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.[3]
  • The sound stages used for the Farmhouse and Temple of Gozer were next door to each other.[4]
  • Bill Murray was easy to get into contact with through Ivan Reitman and Gil Kenan, both who have directed him in past projects. Murray read the script, enjoyed it, and agreed to join the cast.[5]
  • The finale on the Farmhouse stage set took just under three weeks to film.[6]
  • 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.[7]
  • 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.[8]
  • 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.[9]
  • 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.[10]
  • Olivia Wilde eventually broke character and laughed at Bill Murray's insults to Gozer.[11]
  • Jason Reitman advised Dan Aykroyd to join in and insult Gozer's godly aspects.[12]
  • 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.[13]
  • Olivia Wilde sat with Ernie Hudson for lunch while still in her Gozer costume. Wilde, in her spiky exoskeleton bodysuit and Pazuzu makeup, approached the introverted Hudson in the food line.[14]
  • Ernie Hudson accidentally hit Bill Murray's head with his Particle Thrower prop after Jason Reitman called cut on the scene. It left a mark but Murray returned a few minutes later.[15]
  • Bill Murray gave armorer Ben Eadie a certificate for a free massage on the last day of shooting. It was in a balled up envelope so Eadie thought it was his copy of the script as usual. When it was time to take the props off Murray, Eadie thanked him and tried to return the envelope. Murray called him a dumb ass and told him it was a gift.[16][17]
  • The parts where Trevor was seated on the Gunner chair was done for about three days straight. Dirt was blown into Finn Wolfhard's face. When he blew his nose between takes, dirt came out of his nose.[18]
  • 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.
  • Ray mentions:
    • U.S. Fish and Wildlife Service
    • Ducks Unlimited
    • The Association for the Advancement of Retired Persons
    • The National Invasive Species Act, made effective October 26, 1996
  • 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."[19]
  • Peter stalls Gozer by rambling on much like with Vigo in Ghostbusters II, Chapter 26: Ghostbusters vs. Vigo.
  • After Phoebe shoots Gozer in the back of the head, there is a brief shot where Gozer has red eyes and when she's firing at Phoebe's Proton Stream.
  • 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.[20]
  • Jason Reitman knew very early on the ending of Afterlife would entail Ghost Egon. It took bleeding edge technology and the entire length of making the movie to accomplish it. Reitman didn't know it would be successful until the very end of the process.[21]
  • Bob Gunton did the performance capture for Egon's ghost.[22]
  • The process of creating Egon's ghost went to visual effects house MPC. They started in summer 2019 and took about two years to complete work.[23]
    • MPC didn't know they were working on Egon's ghost until a bit later after the project was awarded to them and they saw the artwork.[24]
    • MPC's work on Rachel in "Blade Runner: 2049" convinced Jason Reitman they could pull off Egon's ghost.[25]
    • MPC made sure every detail was worked on: Harold Ramis's likeness, poses, hair, glasses, and even prescription. They sent a successful insert to Reitman while he was filming in Canada. MPC would also be on set.[26]
    • MPC took the young photoreal version of Harold Ramis they made and slowly aged him to the age he would be in the movie as well as capture of Gunton, mainly his face. The main issues they had was getting Egon's hair right but to also make it feel like he was living on the farm for a long time.[27]
    • They also wrestled with how ghostly to make Egon.[28]
  • For filming Egon helping Phoebe, Ivan Reitman suited up and stood in for one shot for the late Harold Ramis.[29][30][31][32]
  • Incidentally, Egon was briefly turned into a ghost in the The Real Ghostbusters episode "Egon's Ghost" and was briefly killed off in the IDW Publishing comics "Ghostbusters: The Other Side" and years later in the Ghostbusters International story arc.
  • The props in the Trap Field are Spirit brand Ghost Traps. There were 198 of them.[33][34][35]
  • A team in Los Angeles and a team in Calgary worked on the Trap Field props. The LA team did the computer work. A DMX Lighting Controller was used to operate them.[36]
  • 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 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 Tully 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 most and uncomfortable.[37]
  • Podcast reveals the name of his podcast is "Mystical Tales of the Unknown Universe."
  • Ray reveals he is the lone subscriber to "Mystical Tales of the Unknown Universe."
  • When Winston takes in the wear on Ecto-1, his wedding band is visible.
  • After Egon disperses, there is a faint No-Ghost logo in the sky and dedication to the late Harold Ramis.
  • "Ghostbusters" plays prior to the end credits at 1:52:38.
  • The mid-credits tag between Peter and Dana took half a day to film. There was a script but it was unnecessary. Bill Murray improvised different takes of the scene.[38]
  • The Zener cards and Electro-Shock Generator were used by Peter in the first movie, Chapter 2: Shock the Nerd, against two volunteers for his research into the effect of negative reinforcement on ESP ability.
  • Peter admits to only shocking the male volunteers, seen in the first movie.
  • Mckenna Grace's single "Haunted House" plays after the mid-credits tag at 1:55:46.
  • Mckenna Grace wrote "Haunted House" in March 2021 and did not intend it to be in Ghostbusters: Afterlife. She sent the song to Jason Reitman to ask him to direct the music video. He asked to include it in the end credits for Afterlife.[39]
  • Only one element in the Busy deleted scene was used for the end tag and the rest were built. The background sounds they added in were filtered to make it feel more like the 1984 movie.[40][41]
  • The deleted scene from the first movie, "Busy" is effectively made canon in this end tag.
  • Winston mentions he has children.
  • Winston admits to covering the rent for Ray's Occult Books.
  • Janine recalls interviewing Winston, seen in the first movie, Chapter 14: Welcome Aboard.
  • Winston alludes to his steady paycheck quip in the first movie, Chapter 14: Welcome Aboard.
  • Winston quotes one of his lines from the first movie, Chapter 26: Gozer, when they thought they defeated Gozer, telling Janine "I had the tools and the talent."
  • The end tag was shot during the pandemic to complete an idea Jason Reitman had but couldn't fully realize during principle photography. He decided to shoot a couple things to augment the pieces he already had.[42]
  • The end tag was seen being filmed on August 11, 2021 at the Los Angeles Firehouse used in the original two movies. The Ecto-1 and Containment Unit were seen.[43]
  • Mooglie is replaced by a Mini-Puft in the No Ghost logo for the final shot in the movie.
    • In 2021, Jason Reitman approached Stuart Reeves to make the tongue in cheek version of the Icon Ghost using one of the Mini-Pufts for Ghostbusters: Afterlife.[44]


  1. 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."
  2. 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."'
  3. 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."
  4. 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."
  5. FrenchyRom YouTube "Jason Reitman talks Ghostbusters Afterlife and the future of the franchise (SPOILERS)" 1:22-1:36 11/23/2021 Jason Reitman says: "I wish I had some great story for you but the truth is that my writing partner Gil Kenan had already directed before my father had obviously directed him before. We had direct access to Bill. He read the script and he enjoyed it and he said yes."
  6. Inguanzo, Ozzy (2021). Ghostbusters: Afterlife The Art and Making of the Movie, p. 180 and 183. Titan Books, London UK, ISBN 1789096529. Eric Steelberg says: "We spent just under three weeks shooting the finale on the farmhouse stage set where the original Ghostbusters show up and they all battle Gozer together."
  7. 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."
  8. 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."
  9. 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."
  10. 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."
  11. 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!""
  12. 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."
  13. 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."
  14. Vanity Fair "The Day Bill Murray, Dan Aykroyd, and Ernie Hudson Became Ghostbusters Again" 11/22/2021 Ernie Hudson: "She says, 'Ernie, you going to have lunch here?' And I said, 'If we could find a table.' So we sat down together and then Ivan came, and the table filled up with people, and I go, 'Wow, this is kind of cool.' I've always been a little bit like that; just a little awkward. But Gozer invited me. All I need is one other person."
  15. Vanity Fair "The Day Bill Murray, Dan Aykroyd, and Ernie Hudson Became Ghostbusters Again" 11/22/2021 Line reads: "After Jason Reitman called cut, the guys shambled to their feet while the crew prepared a new setup. Hudson rose first and swung around just as Murray began to stand beside him. That's when his proton blaster connected with Murray's frontal lobe. Hudson winced as if he were the one who'd been struck. "I hit him on the head with my gun as he was getting up," he explained to onlooking crew members, as Murray left to get checked by the set medic. The accident slowed things down for a beat. Murray got knocked hard, enough to leave a mark. But he was okay. He returned a few minutes later, playing it up like he was gravely wounded but had valiantly rallied. His young costars went along with the joke. "Yeah, I mean, what's a concussion anyway?" Wolfhard said."
  16. Yes Have Some YouTube "Ben Eadie - Ghostbusters: Afterlife Props, RTV Trap, & Stories from set" 32:37-32:57 12/3/2021 Ben Eadie says: "And on the last day of shooting, he hands me this balled up envelope and I'm like 'okay I guess he's got a script in the envelope and so I I put it in my pocket, he comes back and undress him and I'm like 'it's been great working for you' and I hand it back, he looks at me, he's like 'what the hell are you doing? I'm like 'what do you mean, what am I doing?' He's like 'it's a gift you dumb ass.' his last words were like 'you dumb ass' to me, right?"
  17. Yes Have Some YouTube "Ben Eadie - Ghostbusters: Afterlife Props, RTV Trap, & Stories from set" 33:06-33:11 12/3/2021 Ben Eadie says: "I got this little this massage certificate for for a place in town."
  18. Collider Interviews YouTube "Finn Wolfhard and McKenna Grace on Ghostbusters: Afterlife Deleted Scenes" 4:00-4:10 mark 11/15/2021 Finn Wolfhard says: "I think there's a scene where I'm on the gunner's seat and there's like wind blowing dirt into my face and that was like three days straight and you'd go outside and you'd blow your nose and it would just be like dirt out of your nose."
  19. 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."
  20. 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."'
  21. Den of Geek "Ghostbusters: Afterlife – Jason Reitman Finally Addresses the Biggest Spoilers in the Movie" 11/22/2021 Jason Reitman says: "I will say that I knew what the ending of the movie was very early. I knew it was going to be very hard to pull off. And I knew that the success of the film depended on one moment that was going to have to depend on technology that was on the bleeding edge. And frankly, it took us the entire length of the making of the movie to accomplish. And I didn't know whether it was going to be a success until the very end of the process."
  22. 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. "
  23. Yahoo! "The Wrap ‘Ghostbusters: Afterlife:’ How Egon Was Brought Back Through Cutting Edge VFX" 12/10/2021 Article reads: "By Reitman's estimation, the process of returning Egon took two years. The visual effects house tasked with the job was London-based MPC, who also started on the project in the summer of 2019."
  24. Yahoo! "The Wrap ‘Ghostbusters: Afterlife:’ How Egon Was Brought Back Through Cutting Edge VFX" 12/10/2021 Dan Zelecs says: "I knew what the project was meant to be for, but the specifics were still under wraps and it wasn't until a bit later on that we got the project awarded that we saw the artwork and we knew exactly what the target was."
  25. Yahoo! "The Wrap ‘Ghostbusters: Afterlife:’ How Egon Was Brought Back Through Cutting Edge VFX" 12/10/2021 Article reads: "Reitman calls the "Blade Runner 2049" version of Rachel "in my opinion is best virtual character ever done." If they could do it once, they could do it again."
  26. Yahoo! "The Wrap ‘Ghostbusters: Afterlife:’ How Egon Was Brought Back Through Cutting Edge VFX" 12/10/2021 Article reads: "Zelcs created a "checkpoint" for along the way - they were going to create a younger, photoreal version of Harold Ramis as he appeared in the original film. "They created a younger version of Harold and actually edited him into the 1984 'Ghostbusters' to prove that they could do it, so that you would watch the movie and not know whether you were watching a virtual Harold or the original Harold from the film," Reitman said. "We wanted to make sure we could match the original. Match his likeness, match his poses, match his hair, match his glasses. We were even looking at like trying to figure out the prescription of the glass," Zelcs said. The visual effects identified scenes from the original film that the digital Ramis could be easily dropped into. "There was one that was particularly successful and we sent it as just an insert of him, and just as a proof of concept that we could match original Egon," Zelcs said. They sent it to Reitman, who was shooting in Canada. "We would be on set, reviewing footage from 1984 Ghostbusters," Reitman said. It was seamless. The impossible was achieved. Almost."
  27. Yahoo! "The Wrap ‘Ghostbusters: Afterlife:’ How Egon Was Brought Back Through Cutting Edge VFX" 12/10/2021 Article reads: ""They took the young version of Harold that they had created and then slowly aged him to the age that he would've been in the movie," Reitman said. MPC used the footage featuring Gunton as a start. "From the neck down, it's him,” Zelcs said. They also utilized a scan of Gunton, looking at the facial muscles, the wrinkles and folds, the "tics and squints" that made his skin believable. Zelcs and the MPC team ran into an unexpected roadblock: Egon's hair. "His hair took a long time to get right," Zelcs said. "We got the Harold hair from the 1984 film. It was more about we were given a concept image of what they were aiming for, but it was a hand painted image. It was ambiguous." They wanted it to be reminiscent of the original Egon hairstyle, but it still had to evolve. "We wanted him to feel older and a bit wilder, because he's been living in the farm for so long. It had to be reminiscent of what the actor would be like at that age as well, but it was very much steered towards it needs to be Egon at that age"."
  28. Yahoo! "The Wrap ‘Ghostbusters: Afterlife:’ How Egon Was Brought Back Through Cutting Edge VFX" 12/10/2021 Article reads: "Another aspect the MPC team wrestled with: just how ghostly to make him. (In the final film he's classically ghost-like – glowing and semi-transparent.) "It was part of our task to refine the look. It's funny looking back at how they did the ghost effect in the 80s where it was filmed a separate element with different lighting, and then multiplied against a plate. There is also like a roughness to it, whereas with this, you want to see the detail," Zelcs said. "You don't want to hide too much behind a ghost effect." In other words, this new Egon had to stand on his own. "We were building it the best it could be and then however the final effect applied on top was decided, that would only add to it. It wouldn't be disguising what we've done," Zelcs said. Somehow the effect, glittery and ethereal, adds to the emotionality of the scene and of Egon's return."
  29. Inguanzo, Ozzy (November 2021). Ghostbusters: Afterlife The Art and Making of the Movie, p. 191. Titan Books, United Kingdom, ISBN 1789096529. Line reads: "In one of the most meaningful moments in the film, the original four Ghostbusters are standing next to each other again, with Phoebe sharing a proton pack with her grandfather as they defeated Gozer together. For a few insert shots, (Jason) Reitman asked his father, Ivan, to put on the flight suit, subbing in for Spengler."
  30. Jason Reitman instagram 11/26/2021 Jason Reitman says: "For an insert shot of Venkman firing up his proton pack, we brought in the hands of another Ghostbuster. My father only suited up for this one shot."
  31. SyFy Wire "Ghostbusters: Afterlife director reveals his late father Ivan Reitman's secret cameo" 2/21/2022 Jason Reitman says: "The most important one for me, for a long time, was that when Venkman turns on his proton pack, the close-up of the hand is my father's hand."
  32. Inguanzo, Ozzy (2021). Ghostbusters: Afterlife The Art and Making of the Movie, p. 155. Titan Books, London UK, ISBN 1789096529. Caption reads: "Jason Reitman directs his father, Ivan, for an insert shot of Spengler's hands."
  33. 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."
  34. 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."
  35. Tested YouTube "Practical Special Effects of Ghostbusters: Afterlife!" 1:37-1:45 2/9/2022 Elia Popov says: "No, it's 200. It's actually shy by two but because the math on the matrix worked out that way but yeah, let's call it 200."
  36. Tested YouTube "Practical Special Effects of Ghostbusters: Afterlife!" 1:52-2:32 2/9/2022 Elia Popov says: "Believe it or not, it's actually not that bad because you already have the labor on the show so you have them already here and you know so Frosty and Ty here, they've been here since day one and basically got the props and they just started putting little actuators inside all of them with the LEDs and the red LEDs and then back in Los Angeles, we had a two-part team. We had a team in Los Angeles and a team here in Calgary and the Los Angeles team did all the computer work on the boards. We're running it off a DMX controller like a lighting controller and that's where all these boxes came in so we just--they did their end, we did our end and we got here, we met in the middle and plugged it all in and did a little tweaking and programming."
  37. 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."'
  38. Den of Geek "Ghostbusters: Afterlife – Jason Reitman Finally Addresses the Biggest Spoilers in the Movie" 11/22/2021 Jason Reitman says: "We had a script for that scene. Apparently the script was unnecessary… That took half a day. Bill came into the movie with his own ideas, and they were brilliant. And I had grown up hearing the stories of Bill improvising, watching him do it live on-set. It was a thrill to watch him in real-time deliver dialogue that was far superior to anything I could’ve come up with in the couple of years of writing this movie. His brain crackles in a different way, and his voice is authentically his and has been so since we first met him. So to hear Venkman come to life in his voice again thrilled the crew, thrilled me, thrilled my Dad, and it made me want to get to editing a quickly as possible. A hundred percent. On every line of Bill's, there was an alternate that was just as good."
  39. KTLA " McKenna Grace talks about starring in ‘Ghostbusters: Afterlife’ and her new music " 2:00-2:12 11/23/2021 Mckenna Grace says: "I didn't write it for Ghostbusters. I had written it probably back in March and I just sent it to the director of Ghostbusters, Jason Reitman, to see if he would want to direct the music video and then somehow he ended up asking if he could put my song in the end credits of Ghostbusters."
  40. Avid YouTube "VIP All Access — Ghostbusters: Afterlife — Film and Sound Editing Team" 26:20-27:10 12/9/2021 Will Files says: "We got the actual you know piece of production sound and I was like 'Wow, I feel like I'm mixing the original film for a second here and it was fun to-we had to this we added a bunch of sounds there to sort of try to recreate that moment in the film where there was lots of crowd action and there's police sirens and that sort of thing going on and we first put it all in kind of the way we would mix a modern film and it sounded weird up against this older image and older kind of thinner sounding dialogue so we actually ended up kind of filtering the-all the background sounds that we were adding to make it feel like more like the 80 like literally more like the 84 version as if this was you know a whole chunk of the movie that that had been snipped out and dropped into this one."
  41. Avid YouTube "VIP All Access — Ghostbusters: Afterlife — Film and Sound Editing Team" 27:14-27:23 12/9/2021 Will Files says: "There was one element that we stole from the original but no other but we couldn't find a piece long enough to do what we were trying to do that makes sense so we had to build it."
  42. Dobly YouTube "Embracing Sonic Nostalgia with "Ghostbusters: Afterlife" | Sound + Image Lab" 20:20-20:55 11/23/2021 Will Files says: "And then the other thing that came out of it was he had some footage he'd shot that that never made it into the film and he also had this little piece of well I shouldn't give too much away but basically he had an idea that he never had a chance to fully realize because we were kind of rushed the first time and he did have enough time because of Covid so so he decided to go and shoot a couple things to augment the pieces he already had so he could create this moment at the end of the credits that set up an idea that he had."
  43. Oscar Rivera Facebook (private) 8/11/2021
  44. Stuart Reeves instagram 12/9/2021 Stuart Reeves says: "For me, there are few logos as iconic as 1984's "Ghostbusters". The design by Michael C Gross is simply stunning and has really stood the test of time. This year I was approached by Director Jason Reitman to create a new, tongue in cheek version of the logo for new movie "Ghostbusters: Afterlife" and I couldn’t have been more honoured...and terrified beyond the capacity for rational thought. The idea Jason and writer Gil Kenan had was to incorporate the adorable Mini Puft to replace "Mooglie" in a fun twist to end the new movie. A seemingly simple task which was deceptively difficult to get right. The original logo has no wasted lines, no excess details and I studied the use of line width in order to create an accurate replication of the original logo featuring the new character. The logo can now been seen at the end of the fantastic (and tear jerking!) "Ghostbusters: Afterlife", in theaters now."


Official Video

Primary Canon

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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Chapter 15 None