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The Temple of Gozer is Gozer's precious shrine and its own interdimensional portal into other dimensions and worlds.

Primary Canon History

Early 20th Century

After 1920, Ivo Shandor and his followers built the Temple of Gozer atop 550 Central Park West in New York City and built another temple in secret, within the Shandor Mining Company's selenium mine in Summerville, Oklahoma.[1] The Temple in Summerville housed a massive statue of Gozer, and inscribed were the years in which Gozer was prophesied to return. A sacrificial death pit[2][3] was also built inside the mine, serving as the interdimensional gateway Gozer could use to return to Earth. Shandor's body, in suspended animation, watched over the Temple. The Temple could be accessed through an elevator shaft at the top of the mountain housing Shandor's mine.

Ghostbusters

The Temple of Gozer manifested in 1984 in in Dana Barrett's refrigerator--in Gozer's own dimension--and in the top of Dana's apartment. Several weeks later, Zuul and Vinz Clortho completed their ritual and a portal opened. Gozer crossed over from the temple onto the physical plane. The Ghostbusters lined up at the foot of the stairs to the Temple of Gozer. The temple doors opened and there was a bright light. Gozer suddenly appeared between Zuul and Vinz Clortho in a pre-chosen form. Ray Stantz realized Gozer took a female form. Gozer petted Vinz on the head. He purred. Egon Spengler identified it as Gozer. Winston Zeddemore thought Gozer was a man. Egon stated it was whatever it wanted to be. Peter remarked whatever it was, it had to get by them. Ray agreed. Peter told Ray to go get her. Ray silently realized he fell for it. Peter Venkman gave him a nod. Ray took several steps up then addressed Gozer by name. Gozer turned to Ray. Ray stated that as a duly designated representative of the city, county and state of New York, he ordered it to cease any and all supernatural activity and return forthwith to its place of origin or to the nearest convenient parallel dimension. Peter was satisfied and thanked Ray. Gozer asked Ray if he was a god. Peter nodded "yes" to Ray. Ray replied, "No." Gozer turned its upper torso and arms back toward the temple then told them to die. Gozer fired lightning from its fingertips at the Ghostbusters. They yelled out. Zuul and Vinz watched. They were shot across the roof and barely clung to the edge of the building. The crowd of civilians down on the street could see the lightning and exclaimed. As they gathered themselves, Winston looked down at Ray and told him when someone asked him if he was a god, he should say, "Yes!" Ray nodded. Peter declared this chick was toast. They marched up to the temple side by side. Ray placed his Trap down.

Peter asked them if they got their stick. They took out their Particle Throwers and yelled, "Holding!" Gozer crouched down and snarled. Peter shouted, "Heat 'em up!" They switched on the throwers then shouted "Smoking!" Peter yelled, "Make 'em hard!" They shouted, "Ready!" Peter declared they were going to show "prehistoric bitch" how they did things downtown. He gave the word. They fired at Gozer. It growled then double flipped across the air. It landed on the altar outside the structure. Peter remarked she was a nimble little minx. Egon suggested they better go full stream. Ray shouted to aim for the flat top. They blasted her again. Gozer simply vanished. Peter quipped that was not so hard. Ray concluded they neutronized it and caused a complete particle reversal. Winston proclaimed, "And we have the tools. We have the talent!" Peter declared it was "Milla time!" Peter held out his right hand. Ray and Winston were gleeful and did the hand-stack. Egon looked at a Gamma Rate Meter and told Ray things looked extraordinarily bad. Ray was alarmed. Winston wondered what was happening. An earthquake rocked the temple. Egon told them to look out. Boulders and debris fell. They took cover by the altar. Civilians screamed and ran away to avoid the debris.

The disembodied voice of Gozer made its presence known and listed its titles then ordered them to choose and perish. The Ghostbusters stood up. Ray asked Gozer to clarify. Gozer explained they had to choose the form of the Destructor. Peter understood and found it cute. He explained to the others whatever they thought of like J. Edgar Hoover, J. Edgar Hoover would appear and destroy them. He told everyone to empty their heads and not think of anything. They had one shot. Gozer declared the choice was made. Peter protested. He asked Egon. Egon thought of nothing. He asked Winston. Winston asserted his mind was totally blank. Peter stated he chose nothing. Peter, Egon, and Winston turned and looked at Ray. Ray took a few steps back. Ray insisted he couldn't help it and it just popped in there. Peter inquired what he thought of. Ray tried to explain himself. Stomping and screaming from the streets interrupted Ray. Egon spotted the head of the Stay Puft Marshmallow Man and yelled. Blasting Stay Puft failed so Egon proposed they Cross the Streams. Peter recalled Egon's warning about doing that. Peter pointed out they would be in grave danger along with their client Dana Barrett, the nice lady who paid them in advance before she became a dog (and Louis Tully). Egon revealed there was definitely a very slim chance they would survive. The Ghostbusters crossed the streams and destroyed the temple. The explosion also took out Stay Puft and and part of 550 Central Park West. Gozer was defeated, the psychokinetic atmospheric influence dissipated and day was restored, and the world was saved. The Ghostbusters were later sued by every city, county, and state agency, effectively forced out of business.

Before Ghostbusters: Afterlife

Egon Spengler discovered a second Temple of Gozer after moving to Oklahoma, and crafted a Trap Field intended to capture Gozer and its minions forever. He infiltrated the Temple and built an array involving four Proton Cannons controlled by a modified P.K.E. Meter designed to cross streams and forestall the next predicted coming of Gozer in 2021.

Ghostbusters: Afterlife

One night in summer 2021, Egon captured Vinz Clortho then fled the temple in a Shandor Mining truck. Zuul pursued him to the Farmhouse. Zuul returned to the temple after failing to capture Egon and liberate Vinz. After Vinz was released several days later, he too returned to the Temple of Gozer. In his wisp form, he flew into an ornate wall depicting Gozer, himself, Zuul, and the Temple. It cracked a little. Phoebe Spengler, Trevor Spengler, Podcast and Lucky Domingo investigated the mine two days later. They rode the mine elevator down the shaft. To break the silence and tension, Phoebe told one of her jokes. She asked what a cigarette and hamster had in common. Lucky had no clue and asked what it was. Phoebe replied they were both harmless until you stick one in your mouth and light it on fire. Podcast snorted and Lucky refrained from laughing and looked away. Trevor commented it was the worst time. They turned on their flashlights as they got closer to the landing in the chamber. They looked around at the Temple. They were two statues of the Terror Dogs in Sentinel form. Trevor spotted the large statue of Gozer. Below it was a statue of a horde of vaguely human spirits reaching up to the Gozer statue. Trevor shined his light on the Gozer statue. He asked if that was her. Phoebe informed him that Gozer had no gender. Lucky found that pretty woke for 3000 BC. Trevor warned everyone to watch their steps. He came upon a big hole in the ground. They all looked down it. Podcast believed it was a sacrificial death pit. Phoebe wondered what they were sacrificing. Lucky guessed it was virgins. She teased Trevor and noting tough luck for him. Phoebe recalled that statistically, most 15-year-olds were virgins. Trevor panicked. Lucky realized he was 15 and lied to her about his age when they first met. He tried to defuse things and told her he would be 16 in February. She pointed out it was June. He quickly changed the subject and asked what all those holes in the wall were. They all looked. Phoebe joked they were "vacancies." Lucky wondered where all the bodies were. Podcast announced he found one. The others joined him at the lone glass tomb. There was an elder man in a purple suit wearing a twin red sash. Trevor was shocked and asked if he was sleeping. Lucky pointed out it was a coffin. Phoebe climbed up a wooden ladder nearby. Podcast saw the name plate and realized the man in the tomb was the late Ivo Shandor. Lucky admitted he looked fantastic for a dead 90 year old. Podcast recalled when someone died, their fingernails kept growing. Lucky quickly called that false and stated only their skin shrunk.

Phoebe believed Shandor knew Gozer was coming. They looked up at her. She found a series of numerical inscriptions foretelling the years in which Gozer would return to Earth. The visible years were 1821, 1823, 1883, 1908, 1945, 1984, 2021, and 2134. Podcast recalled the Krakatoa eruption in 1883, the most violent volcanic activity in human history. Trevor asked what happened in 1908. Podcast guessed it was probably the Tunguska blast over Siberia. Lucky saw 1945 and begged the question of what did not happen that year. Phoebe saw 1984 and quickly matched it to the Manhattan Crossrip. She likened it to a countdown. Podcast deduced it was like a prophecy. There was a noise. Phoebe climbed down. There is an orange glow coming from the pit. Phoebe leaned over and looked down. A spectral horde was rising up. Trevor called out to Phoebe. There were vague figures and arms in the horde A familiar powering up sound was heard. A proton stream was fired over the pit. It zoomed past Phoebe's left side. Three other proton cannons fired/ The streams all crossed then shot into the spectral horde. The mine rumbled. The spirits in the pit visibly reacted to the crossed streams. Trevor shouted to Phoebe. Phoebe realized this was the cause of Summerville's earthquakes. Ivo Shandor's eyes suddenly opened. He turned his head at Podcast, who naturally freaked out. Trevor shouted out to Phoebe again. A voice in the horde said her name, too. A humanoid figure started to form. Trevor pulled Phoebe away. The crossed streams forced the horde back down. The modified P.K.E Meter connected to the cannons turned off. The Proton Cannons each turned off. Shandor turned his head and went back into a death-state. Phoebe and Trevor stood up Lucky ran over. Podcast pointed at Shandor and asserted he was alive. Lucky asked Trevor if he was okay and brushed the dirt off him. Trevor told her he was fine and asked her the same question. Phoebe walked between them and killed the moment. Trevor asked Phoebe what was wrong. She studied one of the Proton Cannons and declared Egon was right all along. She surmised he built the Proton Cannon array to contain attempts by Gozer to cross through to Earth and stood guard, even when no one believed him, sacrificing everything: his life, his friends, and his family. There was a silence. Podcast thought that was a bummer. Trevor and Lucky looked down at him in dismay. Phoebe stated they needed to tell Callie what they discovered.

After Zuul and Vinz Clortho started the ritual to summon Gozer to Earth once again by choosing human hosts. Hours after taking possession of Gary Grooberson, Vinz Clortho returned to the temple and used a pipe wrench to move a Proton Cannon's trajectory and destroyed one of the other cannons. P.K.E wisps flew out of the pit. The stone wall art of Gozer and the Terror Dogs cracked even more. It soon shattered and an orange beam shone through a hole. The Temple burst through the mine's walls, allowing Vinz and Zuul to complete the ritual. They walked hand in hand up the stairs and took their places on each side. They were unaware Ecto-1 was off to the side hidden. Podcast and Phoebe sneaked in closer on foot and took cover. Zuul and Vinz raised their arms up. Gozerian lightning from the Psychokinetic Atmospheric Influence above the mine struck them. Trevor was confused. Vinz and Zuul transmogrified into their Terror Dog forms. Phoebe and Podcast were in dismay. P.K.E. wisps continued flying out of the pit. One wisp flew through and shattered Ivo Shandor's glass tomb. Gozer climbed out of the interdimensional gateway inside the sacrificial pit using all four limbs. Gozer was welcomed by a reawakened Shandor and was 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. Shandor suggested they could rule the world together. Gozer placed her hands on both sides of Shandor's head and ripped him in two, killing him. Gozer then reunited with Zuul and Vinz on the steps of its temple. It scratched the chin of Zuul. The Terror Dogs hopped back down to their places, where Gozer took its throne. It went into a relaxed pose. Trevor continued to wait inside Ecto-1. Gozer was met by Phoebe on the steps of the Temple. Phoebe attempted to distract Gozer with jokes while Podcast remote-controlled the Remote Trap Vehicle to capture Zuul. 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?""

Not amused by the jokes, Gozer asked if Phoebe had come before it in the Temple 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 triggered the Trap, capturing Zuul and forcing Gozer's form to become unstable. Callie became visible and fell down the stairs. Trevor started up Ecto-1 and the sirens turned on. It slid in with its rear facing the stairs. Gozer dropped to its knees. Podcast and Phoebe headed into the rear of Ecto-1 with Callie. Phoebe closed the door and Ecto-1 took off. The Remote Trap Vehicle followed close behind. Phoebe, Podcast and Trevor fled the Temple in Ecto-1 with Callie. Gozer and Vinz gave chase and followed them to the Farmhouse.

Secondary Canon History

IDW Comics

Main Canon

According to the writings of the Cult of Gozer, circa 2800 BCE, Tiamat guided her followers to banish Gozer from the physical plane. A massive interdimensional crossrip was triggered by her followers and Gozer was banished. The Gozerian temple in Shuruppak burned for 9 days under blood red skies and the populace was afflicted with a host of misfortunes comparable to the Biblical plagues of Egypt.[4]

1000 years ago, give or take, as a protracted civil war between the Autobots and Decepticons came to an end on Cybertron when the former left the planet. The Decepticons were unable to pursue them due to the arrival of Gozer from its temple atop one a building. Shockwave, Starscream, Megatron, and Soundwave approached the Temple of Gozer. Gozer announced "The Traveler has come." Megatron demanded it to explain itself or face his wrath. Shockwave warned against antagonizing it and cautioned against its power was beyond his sensors' ability to categorize. Starscream had enough of their inaction and fired at Gozer. Gozer blocked his attack with its right hand then countered with lightning. Megatron berated Starscream. Soundwave suggested broadcasting a distress beacon. Starscream thought the Decepticons should have fled the planet, too. Megatron stated they did not flee and declared he would deal with Gozer himself. Megatron walked up the temple stairs. Vinz charged and leaped at him. Megatron knocked him aside. Megatron walked up to Gozer and asked why it came to his world. Gozer replied to came to end Cybertron and implored him to choose. Megatron didn't understand. Gozer explained it was time to choose the form of their destruction then quickly stated it was done. Starscream became worried. Shockwave asked him what he did. Starscream claimed he did nothing but had a fleeting thought about how he could be mighty enough to destroy the planet. Gozer's Destructor form manifested, a larger version of Starscream. Megatron shot Starscream in the right shoulder. He vowed he would pay for his indiscretion then ordered the alarm to be sounded. The other Decepticons rallied to them. It was not enough and Cybertron was destroyed.

The Temple of Gozer appeared in part of Ray's precognitive episode. However, a magical obsidian recreation was reassembled by Idulnas soon after, to serve in Gozer's rite of change. In its new state, it was also adorned with a crystalline motif similar to Idulnas' appearance. Once the Re-Selection took place and Idulnas vacated the physical plane, the temple disintegrated. As the Ghostbusters explored more and more dimensions with their Interspatial Teleportation Unit, they observed more and more versions of the Ghostbusters, their logo, flight suits, and Firehouses. It only lent more credibility to the theory they sent the idea of Ghostbusters into the Multiverse when they crossed the streams on the Temple of Gozer. By way of Gozer's portal, for a split second, they took themselves to the line of complete subatomic destruction and were connected to every reality at once. Every thought they ever had, the very core of their beings. their concepts, and their methods were seeded into the subconscious of the Multiverse.[5][6][7]

Tertiary Canon History

Ghostbusters: Deviations

In an alternate timeline, the Ghostbusters decided not to cross the streams on the Temple of Gozer. 31 days later, the Ghostbusters agreed to help Gozer return to its home dimension because it hated its new Destructor Form. They came up with a plan to utilize Tempore Ruga to send Gozer back in time to before Ray chose the form and it would return through the portal. As a precaution, the Ghostbusters went behind Gozer's back and traveled back in time. They posted pictures of an animated character named Loofajoe Rectangleshorts all over the temple. If Gozer betrayed them, then the pictures would reinforce the Ghostbusters to choose Loofajoe, an even worse form for Gozer. Ruga instructed it to concentrate on the precise moment in time where it needed to return. Ruga then flew into the Stay Puft Marshmallow Man's head and Gozer returned to the point before it told the Ghostbusters to choose a form. It saw the posters of Loofajoe and realized what happened. To the past Ghostbusters' confusion, it declared they won and anticlimactically went back through the temple's portal.

Ghostbusters: The Board Game

Just as he was being trapped, Ivo Shandor transported the rooftop of the Shandor Building back in time to before Gozer was banished. The Ghostbusters now had to battle Gozer once more. They crossed the streams to seal the Unison Spirit World Gates and defeated Gozer.

Description

The Temple of Gozer consisted of a large ancient pyramid, a staircase, translucent doors, two altars for the Terror Dogs (Zuul the Gatekeeper and Vinz Clortho the Keymaster) to wait upon, and assorted obelisks and hieroglyphs. At its summit, there was a bright light. Also, an engraving of a scene with the Temple portal and statues of its two minions, can be seen at the top of 550 Central Park West.

Behind The Scenes

Ghostbusters (1984) Behind The Scenes

John DeCuir devised and supervised the construction of the Temple of Gozer set which cost around $1 million. It would be famous for being one of the biggest indoor sets ever built in Hollywood.[8] DeCuir prepared a small foam core study model. Using a makeshift viewer, Ivan Reitman and Richard Edlund used the model to start plotting out camera angles.[9][10] The finished set filled up the entire stage and was about three stories off the ground.[11][12] The height allowed for the film crew to get low angle shots to create that perspective of being at the top of a building.[13]

40 matte paintings were created with photos and concept drawings. The enhanced skyline around the temple was done through animated lightning effects and injecting clouds of paint into a giant water tank.[14][15]

The Stage 16 set provided some issues with the 65mm cameras for László Kovács. Boss Films preferred him to achieve a certain stop — f/5.6 — but due to physical limitations, he was unable to give them more than f/4.[16] Lighting the set took six weeks of rigging and testing. Kovács' gaffer, Colin Campbell, built light racks behind the painted over 400 feet long and 60 feet high New York backing. Ultimately, 7500 pieces of 300-watt mushroom globes were strategically located behind windows, skylines, and the like. On the day before shooting started, they finally achieved the right light intensity.[17] DeCuir worked closely with Kovács and Campbell on set design to make sure the architecture complimented their efforts and even built places to hide the lights.[18] For the scene when Gozer arrives, Kovács used both a strong backlight on the whole stairwell and cross light. This helped create an overexposed effect with everything bathed in light.[19]

The power requirements for the set were so intense that during filming, other parts of the studio had to be shut down whenever full illumination was used.[20] A giant 360-degree cyclorama encircled more than three-quarters of the temple set and which could be lit for either daylight or nighttime exposures. Shots that needed optical enhancements were filmed from a steady, rigid platform. All other shots were taken from a Chapman crane.[21][22][23] Just about every generator available for rent in Los Angeles was used to light the set.[24] The portal was plexiglass. To simulate smoke, dry fog was pumped during photography. Concealed operators manipulated the Terror Dogs while they rested on the pedestals.[25] The seismic disturbance caused by Gozer was done practically with sound effects and stagehands throwing rubble.[26] For safety concersn fire marshals were always present on the set.[27]

Once the preliminary shooting was completed, the main unit went to other sets while DeCuir's team redressed the set as the demolished version for the final scenes in the movie.[28]

Ghostbusters: Afterlife Behind The Scenes

On October 29, 2019, it was reported a mine set was being taken down inside the Calgary Film Centre.[29]

Trivia

Ghostbusters (1984) Trivia

  • According to the August 5, 1983 draft of the movie script, the Temple of Gozer is an exact replica of a Sebouillian temple.[30]
  • In the 1984 featurette "On the Scene with the Ghostbusters," found in the 'Ghostbusters Grab Bag' section of the DVD special features, Dan Aykroyd described the Temple of Gozer as a pre-Sumerian temple. [31]
  • The Temple of Gozer was in part inspired by the book "Rooftops of New York" [32]
  • During the first screening of the movie, the scene of Dana seeing of the Temple of Gozer and Terror Dogs in her refrigerator was not ready and in its place was a "Scene Missing" card but the scene still got a great response.[33]
  • The whole rooftop sequence took a few weeks to film on a stage. [34]
  • In preparation for the detonation of the temple, Thaine Morris had Mark Stetson and this team wield up a frame of steel that was a quarter inch thick on the temple. Deflector aprons were also discussed to deflect the blast out the sides and help simulate the explosion described in the original illustration.[35][36]
  • Thaine Morris rigged the Temple of Gozer model with four napthalene bombs for the explosion shot.[37]
  • Virgil Mirano, a still photographer for Entertainment Effects Group, had the "unique privilege" of being hit in the head by an errant bench when Thaine Morris detonated the Temple of Gozer set for the ending of the first movie.[38]

Ghostbusters: Afterlife Trivia

  • The temple set's design was inspired by art deco, ancient Sumerian and Babylonian iconography, stepwells in South Asia, geometric patterns by architect Louis Sullivan, holy sites, monuments, mausoleums, cubist statuary, and a bit of Eastern European fascism.[39]
  • Ivan Reitman urged production to go bigger with the temple set. Production looked at other movie sets, like the Well of Souls from "Raiders of the Lost Ark" for inspiration.[40]
  • The Gozer statue was heavily inspired Polish sculptor Stainislaw Szukalski.[41]
  • Francois Audouy's design for the etched relief on the stone wall was directly based on the engraved doors from Ghostbusters, but to realize the concept, some subtle design modifications would be required to create an organic transition to the iconic ziggurat-stepped architecture. Kirsten Franson sepent a long weekend building a working digital 3D model of the transition. A physical study was also built with the sculpting team. Art director Bill Ives built a photo-realistic 3D model of the entire stage set. For the debut of the stone stairway, two versions were built: a "pre-stairs" configuration of just the bas-relief rock wall, and a "post-stairs" configuration featuring the full transformed set. The visual effects team then bridged the pre and post transformation configurations with the four fully digital shots animating the stone stairway extending out of the bas-relief.[42][43]
  • The slot canyon walls were inspired by slot canyons in the Arizona badlands and the archaeological city of Petra in Jordan.[44]
  • The close up of the red eye on the Terror Dog statue was a nod to when a similar manifestation happened in the first movie, Chapter 16: Dogs Drag Dana, of the Terror Dogs starting to break out of their statues.
  • The mine elevator was built practically. It was 45 feet tall on a stage set that led to the the chamber set.[45]
  • The sound stages used for the Farmhouse and Temple of Gozer were next door to each other.[46]
  • The Ray's Occult Books set was also in the same building as the Temple of Gozer set.[47]
  • The mine shaft was built during the first week of photography.[48]
  • The Gozer statue in the temple was sculpted in 3D and zbrush.[49]
  • The Temple of Gozer set was built using a combination of three techniques: taking molds of real rocks, hand sculpting, and cutting on a four axis mill.[50]
  • Everything above 15 feet tall and all the squeezes in the corner rocks of the temple set are real rock.[51]
  • The floor in the temple set was a foot of styrofoam sandwiched between plywood. During construction, a 10 person team cut a circle in the floor and slotted in the pre-built sacrificial death pit gateway.[52]
  • After coming down the mine elevator, there is a statue of the pre-chosen form Gozer took in first movie.
  • There is a sequence of years etched in stone in the temple which include:
    • 1823
    • 1883: 1883 was the year of the Krakatoa eruption, as mentioned.
    • 1908: The year of the Tunguska blast that Ray references at the end of the first movie.
    • 1945: The year World War II ended with the atomic bombings of Hiroshima and Nagasaki.
    • 1984, in reference to the first movie.
    • The most current year etched in stone is 2021, when this movie takes place.
    • The next year after 2021 was 2134.
  • Ivo Shandor's coffin was patterned after real glass enclosures used to display the embalmed bodies of infamous leaders around the world and religious figures across Europe. Kirsten Franson modeled one of Francois Audouy's sketches in 3D, which was then distributed to the construction department and crafted to be elegant and sophisticated.[53]
  • Ivo Shandor's tomb reveals he was born in 1855 and "died" in 1945.
  • The Proton Cannon props reserved for the 4 pack set up in the mine weren't up to Jason Reitman's expectations. Peter White and members of the Alberta Ghostbusters worked on them for a lot of hours over a weekend.[54][55]
  • Shannon Chapel worked on the P.K.E. Meter prop that controls the Proton Pack array.[56]
  • The team of Alberta Ghostbusters technically broke on-set rules and installed the Proton Cannons and bases themselves using pipe fitting adapters bought from a local Home Depot on a holiday weekend.[57]
  • The Terror Dog puppets were too heavy for the initial temple set so it had to be reinforced overnight to compensate.[58]
  • 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.[59]
  • 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.[60]
  • Gozer's throne was inspired by the basalt rocks in Northern Ireland's Giant's Causeway and the Italian architect Carlo Scarpa.[61]
  • 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.[62]
  • The shot of Phoebe's reaction to seeing Callie change into a Terror Dog is a nod to Peter's when he sees Dana change in the first movie.

88MPH Comics Trivia

Ghostbusters: The Video Game Trivia

IDW Comics Trivia

  • On page 18 of Ghostbusters Issue #15, Egon Spengler refers to the Temple of Gozer.
  • The Retailer Incentive Wraparound Cover of Ghostbusters 101 #1 uses the PR photo from the team at posing at Gozer's altar.
  • On page 17 of Ghostbusters Crossing Over Issue #1, in panel 1, in the mini portal is Chevy Chase in an outfit he wore during a set visit of the Temple of Gozer.
    • The pose of him pointing at himself is based on a photo he took wearing his "Yes, It' My Real Name" T-Shirt.
  • On page 2 of Transformers/Ghostbusters Issue #1, behind and above them is the background from Transformers: The Movie's title sequence when the camera dives into an "O".
  • On page 4 of Transformers/Ghostbusters Issue #1, in panel 4, the two statue faces are based on two Quintesson Judges, Death and Rage. The Quintessons are the race who created the Transformers and were overthrown then ousted from Cybertron.
  • On page 4 of Transformers/Ghostbusters Issue #1, instead of Ray, it is Megatron who goes up the stairs to address Gozer.
  • On page 5 of Transformers/Ghostbusters Issue #1, in panel 1, the dragon and figures on the temple door is visually based on the hieroglyph that Grimlock taps in the Transformers episode "Madman's Paradise".
  • On page 6 of Transformers/Ghostbusters Issue #1, in panel 3, the two ends of the temple roof bears the two statue faces of the Quintesson Judges, War and Wisdom.
  • On Cover RI of Ghostbusters Year One Issue #3, the Temple of Gozer appears.
  • The Temple of Gozer appears on the Transformers Generations Ectotron Ecto-1 Cover of Transformers/Ghostbusters Issue #1.

Appearances

Primary Canon Appearances

Secondary Canon Appearances

Tertiary Canon Appearances

References

  1. Ivo Shandor (2022). Ghostbusters: Afterlife Chapter 15 (2021) (Blu-Ray ts. 01:35:01-01:35:11). Sony Pictures. Ivo Shandor says: "Your Eminence. Goddess of Gods. I have built this temple for you, so that you might return to Earth..."
  2. Podcast (2022). Ghostbusters: Afterlife Chapter 13 (2021) (Blu-Ray ts. 01:19:58-01:19:59). Sony Pictures. Podcast says: "A sacrificial death pit."
  3. Gozer (2022). Ghostbusters: Afterlife Chapter 15 (2021) (Blu-Ray ts. 01:37:00-01:37:05). Sony Pictures. Gozer says: "Have you come to offer yourself in sacrifice?"
  4. Narrator (2016). Insight Editions- "Tobin's Spirit Guide" (2016) (Book p.88). Paragraph reads: "According to the writings of the Gozerian Cult, circa 2800 BCE, it was Tiamat's followers---under her direct guidance---that were responsible for Gozer's banishment from this plane of existence. Roughly translated, the writings describe what sounds like a massive interdimensional crossrip at the time of Gozer's exile---the Gozerian temple in Shuruppak was said to burn for nine days under blood-red skies, while a ghost of misfortune comparable to the biblical plagues of Egypt assaulted the populace."
  5. Ray Stantz (2017). IDW Comics- "Ghostbusters 101 #3" (2017) (Comic p.16). Ray Stantz says: "Um... ultimately I'm afraid we're responsible for putting 'ol Mooglie -- Er The No Ghost Logo - out into the universe, amongst other things. It's a theory based on what we've seen cataloging dimensions. That logo, and flight suits, and Firehouses, and Proton Packs and even the term Ghostbusters. They keep popping up, even when it's not versions of us who are using them."
  6. Ray Stantz (2017). IDW Comics- "Ghostbusters 101 #3" (2017) (Comic p.16). Ray Stantz says: "No, really... we think we sent the idea into the Multiverse, y'know accidentally."
  7. Ray Stantz (2017). IDW Comics- "Ghostbusters 101 #3" (2017) (Comic p.18). Ray Stantz says: "It took us right up to the line of a complete subatomic destruction. And by way of Gozer's portal, for a split second, we were connected to every reality at once. Every thought we ever had, the very core of our beings... that's how they were seeded into the subconscious of the Multiverse. Our concepts, our methods... In theory, anyway. But so far, observation has only lent the idea credibility."
  8. Shay, Don (November 1985). Making Ghostbusters, p. 11. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "Among other things, DeCuir would devise and supervise construction of the Gozer temple -- one of the biggest indoor sets ever built in Hollywood."
  9. Shay, Don (November 1985). Making Ghostbusters, p. 107 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "Prior to construction of the million-dollar set, DeCuir prepared a small foam core study model."
  10. Shay, Don (November 1985). Making Ghostbusters, p. 107 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "With a makeshift viewing device made from cardboard, Ivan Reitman and Richard Edlund plot out possible camera angles."
  11. Joe Medjuck (1999). Ghostbusters- Commentary (1999) (DVD ts. 49:51-49:54). Columbia TriStar Home Video. Joe Medjuck says: "And the set filled the stage. There was virtually no room on either side of it."
  12. Harold Ramis (1999). Ghostbusters- Commentary (1999) (DVD ts. 49:55-49:59). Columbia TriStar Home Video. Harold Ramis says: "It was very high off the ground too. It was almost dizzying when you were up there, about three stories off the ground."
  13. Ivan Reitman (1999). Ghostbusters- Commentary (1999) (DVD ts. 50:00-50:03). Columbia TriStar Home Video. Ivan Reitman says: "So that I could get really low angle shots to create that perspective of being at the top of a building."
  14. Shay, Don (November 1985). Making Ghostbusters, p. 107 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "Using photos and conceptual illustrations for guidance, assistant matte artist Michelle Moen roughs out one of the rooftop matte paintings. In all, more that forty such paintings were employed in the film."
  15. Shay, Don (November 1985). Making Ghostbusters, p. 168 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph says: "The live-action master shot was later enhanced with a matte painting of the New York skyline - which also encompassed the upper portion of the apartment building and the temple top. Composited into the final scene were animated lightning effects and turbulent night skies - produced by injecting clouds of paint into a giant water tank."
  16. American Cinematopgrapher June 1984 László Kovács says: "It was especially difficult on Stage 16, where a lot of 65mm effects had to be shot. One day, we had two or three 65mm cameras and three 35mm cameras lined up, doing the same setup. I had to light basically for the 65mm, in order to achieve the certain stop — f/5.6 — that they preferred. But, in certain situations, I wasn't able to give them more than f/4 due to physical conditions."
  17. American Cinematopgrapher June 1984 László Kovács says: "The set presented an enormous logistics problem. For instance, Colin Campbell, my gaffer, built light racks behind the painted New York backing, which was over 400 feet long and 60 feet high. There were 7500 pieces of 300-watt mushroom globes, strategically located behind windows, skylines, etc. Even the park lamps were little Christmas lights. That created depth and life in a basically immobile backing. The rigging of that stage alone took six weeks. Just the rigging — without the labor — such as equipment rentals, cables, generators, etc. cost $300,000. Again, that created a problem because it was supposed to look real. We had a lot of tests made with different degrees of light intensity coming through the windows, the skylight, etcetera. And, for a while, nothing worked! But, miraculously, the day before shooting, on the last test, we came up with something that we thought was really believable."
  18. American Cinematopgrapher June 1984 László Kovács says: "All of our lights were 60 feet above ground. At the end of the stairway on the set is Gozer's pyramid. Its peak was right at the rafters. Then, on top of the pyramid, I needed another Titan. We figured that the only way we could do it would be to take out the rafters and put in a bed which is hung from the ceiling — which is, of course, higher than the rafters — and put the Titan there. But we only had to do that for that one light. John DeCuir went over things very carefully with my gaffer and myself, to leave us places for the lights. He always creates every set keeping in mind how it should be lit. He provides little architectural elements where you can hide lights, and a little visual interest which would catch a little more light or some kind of a texture."
  19. American Cinematopgrapher June 1984 László Kovács says: "The idea was to use a strong backlight on the whole stairway, and also use cross light. First of all, I had to build the stop up to about f/16 because, when the ghost appears, we wanted to create this overexposed effect with everything bathed in light. I had to give the 65mm camera an f/8 stop. I used the same f/8 stop on my camera, but it needed two more stops overexposure. That's why I needed all this tremendous amount of power. Also, creating the backlight effect is really not using the full extent of the lights. If you front-light you've got overexposure much sooner. It's very difficult to overexpose with cross light and backlight."
  20. Shay, Don (November 1985). Making Ghostbusters, p. 178 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "The electrical power required to light the set - one of the largest ever constructed on a Hollywood soundstage - was enormous, requiring filming in other parts of the studio to be shut down whenever full illumination was applied."
  21. Shay, Don (November 1985). Making Ghostbusters, p. 171 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "Preparing for a wide master of the brightly-lit Gozer temple, the Entertainment Effects Group crew appears silhouetted against the New York skyline - actually a giant cyclorama which encircled more than three-quarters of the temple set and which could be lit for either daylight or nighttime exposures. Although most of the film's expansive production shots could be taken from a crane, any shot requiring later optical enhancement needed to be taken from a much steadier, rigidly constructed platform."
  22. Harold Ramis (1999). Ghostbusters- Commentary (1999) (DVD ts. 49:31-49:37). Columbia TriStar Home Video. Harold Ramis says: "Very tall stage. It's a 360-degree cyclorama of the city, the backdrop."
  23. Shay, Don (November 1985). Making Ghostbusters, p. 171 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "Mounted on a Chapman crane, Laszlo Kovacs' production camera is readied for a long shot of the temple."
  24. Ivan Reitman (1999). Ghostbusters- Commentary (1999) (DVD ts. 49:38-49:48). Columbia TriStar Home Video. Ivan Reitman says: "Which was painted in the old manner and then had to be lit by László Kovács. And we used every generator that was available for rent in the city of Los Angeles when we had to light the damn thing up."
  25. Shay, Don (November 1985). Making Ghostbusters, p. 171 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "A behind-the-scenes view of the upper temple reveals its plexiglass portal and staircase - over which dry ice fog would be pumped during photography - and the hollow pedestals from which concealed operators could bring their Terror Dogs to life."
  26. Shay, Don (November 1985). Making Ghostbusters, p. 179 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "The seismic disturbance was accomplished quite simply with sound effects and bits of rubble released from above by concealed stagehands."
  27. Harold Ramis (1999). Ghostbusters- Commentary (1999) (DVD ts. 49:49-49:50). Columbia TriStar Home Video. Harold Ramis says: "Fire marshals on the set round the clock."
  28. Shay, Don (November 1985). Making Ghostbusters, p. 199 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "Once preliminary shooting on the temple set was completed, the main unit transitioned to other sets and other stages while John DeCuir and his team moved in and redressed the now-demolished structure for its final scenes in the film."
  29. Reddit belfastcanadian post 10/29/19
  30. Aykroyd, Dan & Ramis, Harold (1983). Ghostbusters (First Draft August 5, 1983) (Script p. 109). Egon Spengler says: "On the roof, he put an exact replica of a Sebouillian temple.""
  31. Dan Aykroyd (1984). Ghostbusters (1984) "On the Scene with the Ghostbusters" (1984) (DVD ts. 06:26-06:30). Columbia Pictures. Dan Aykroyd says: "Well, the set is uh basically your average pre-Sumerian temple."
  32. Joe Medjuck (2005). Ghostbusters- Commentary (2005) (DVD ts. 24:04-24:38). Columbia TriStar Home Video. Joe Medjuck says: "Let me say about the rooftop. We were thinking about where, what would be the center of the disturbance. And different kinds of buildings and places all over the city and we...I don't know if this this is how it occurred to everyone but I remembered a rooftop in St. Louis which was a replica of a temple and we started looking at the rooftops of New York and someone produced a coffee table book called 'Rooftops of New York' and we saw all these interesting temples on rooftops of buildings and all these strange Gothic structures and they went with that as a design concept."
  33. Ivan Reitman (1999). Ghostbusters- Commentary (1999) (DVD ts. 20:02-20:22). Columbia TriStar Home Video. Ivan Reitman says: "At that very first screening we talked about, this next special effect was not available and so when the first audience that saw this test screening, it went to that shot and it only said, "Scene missing" and they just freaked out. It was the best response we ever had to the screening. I always thought that we ought to take this crappy effects shot out and leave the "scene missing" here."
  34. Ivan Reitman (2005). Ghostbusters- Commentary (2005) (DVD ts. 1:23:34-1:23:49). Columbia TriStar Home Video. Ivan Reitman says: "The whole rooftop sequence took us a few weeks to film. It was all on this stage. The Ghostbusters are actually in there in that shot in the hole, closer you can see the guys walking around. "
  35. Thaine Morris (1999). Ghostbusters (1984) "SFX Team Featurette" (1999) (DVD ts. 12:50-12:56). Columbia Pictures. Thaine Morris says: "Mark [Stetson] came to me and said, "How strong do you want me to make this building?" and I said, "Stronger than you can."."
  36. Mark Stetson (1999). Ghostbusters (1984) "SFX Team Featurette" (1999) (DVD ts. 12:57-13:09). Columbia Pictures. Mark Stetson says: "We wielded up a frame of quarter inch steel on the old temple and I just couldn't believe you needed it that strong and we started talking about deflector aprons to get the blast to shoot out the sides in the original illustration."
  37. Thaine Morris (2019). Cleanin' Up The Town: Remembering Ghostbusters (2019) (Blu-Ray ts. 1:53:36-1:53:39). Bueno Productions. Thaine Morris says: "There was four napthalene bombs in that building."
  38. Virgil Mirano (1999). Ghostbusters (1984) "SFX Team Featurette" (1999) (DVD ts. 13:19-13:38). Columbia Pictures. Virgil Mirano says: "I had the unique privilege of being hit in the head by one of the best pyromen. One of the errant benches on top of the temple went flying through the air, hit the plexiglass, careened off it, and creased me in the skull. Never been the same."
  39. Inguanzo, Ozzy (2021). Ghostbusters: Afterlife The Art and Making of the Movie, p. 135. Titan Books, London UK, ISBN 1789096529. Line reads: "The eclectic mix of inspiration included art deco, ancient Sumerian and Babylonian iconography, stepwells in South Asia, geometric patterns by architect Louis Sullivan, holy sites, monuments, mausoleums, cubist statuary, and a bit of Eastern European fascism-the latter being a nod to Shandor's attitudes."
  40. Inguanzo, Ozzy (2021). Ghostbusters: Afterlife The Art and Making of the Movie, p. 135 and 137. Titan Books, London UK, ISBN 1789096529. Francois Audouy says: "We got some great feedback from Ivan Reitman, who urged us to push the walls back a bit and go a little bigger. We even looked at some other movie sets, like the Well of Souls from Raiders of the Lost Ark. Not necessarily one of the largest interiors, but it's incredibly efficient."
  41. Inguanzo, Ozzy (2021). Ghostbusters: Afterlife The Art and Making of the Movie, p. 137. Titan Books, London UK, ISBN 1789096529. Francois Audouy says: "We were heavily inspired by the powerful work of Polish sculptor Stainislaw Szukalski."
  42. Inguanzo, Ozzy (2021). Ghostbusters: Afterlife The Art and Making of the Movie, p. 146. Titan Books, London UK, ISBN 1789096529. Line reads: "Later in the film, the mountainside cracks open and the shallow cravings of the etched stairway protrude outward, allowing Gozer to emerge from the temple. To accomplish this, two versions of the canyon set were built-a "pre-stairs" configuration of just the bas-relief rock wall, and a "post-stairs" one featuring the full transformed set. The visual effects team would bridge pre and post transformation with the four fully digital shots animating the stone stairway extending out of the bas-relief. Audouy's design for the etched relief was directly based on the engraved doors from Ghostbusters, but to realize the concept, some subtle design modifications would be required to create an organic transition to the iconic ziggurat-stepped architecture."
  43. Inguanzo, Ozzy (2021). Ghostbusters: Afterlife The Art and Making of the Movie, p. 147. Titan Books, London UK, ISBN 1789096529. Francois Audouy says: "Over a long weekend, she took the designs and ended up building a working digital 3D model of the dimensional transition. We also built a physical study with our sculpting team, and concurrent to that, my art director Bill Ives built a photo-real 3D model of the entire stage set."
  44. Inguanzo, Ozzy (2021). Ghostbusters: Afterlife The Art and Making of the Movie, p. 149-150. Titan Books, London UK, ISBN 1789096529. Francois Audouy says: "Visually, we were inspired by slot canyons in the Arizona badlands, and even the archaeological city of Petra in Jordan. One of our painters had recently visited Petra and had those incredibly high-resolution photographs of the beautiful rock walls, so those became a key texture reference for the slot canyon walls of the set."
  45. Go Creative Show YouTube "Ghostbusters Afterlife Production Design (with Francois Audouy) GCS291" 41:51-42:08 12/6/2021 Francois Audouy says: "Then we built a practical mine shaft that was 45 feet tall on stage for for the kids going down the elevator and then they open up into a chamber that was built on stage and-"
  46. 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."
  47. The Black Firehouse Podcast Spotify "Session 3: Ghostbusters Afterlife Gunners Seat & Sentry Proton Packs" 1:02:55-1:03:04 1/25/2022 Jordin Johanson says: "Yeah, in a sound stage in Calgary. The same building is where the Gozerian temple was."
  48. Tested YouTube "The Production Design of Ghostbusters: Afterlife!" 12:11-12:17 1/26/2022 François Audouy says: "They get in a cage and then we built a 40 foot tall mine shaft on the shop during the first week of photography."
  49. Tested YouTube "The Production Design of Ghostbusters: Afterlife!" 15:00-15:03 1/26/2022 François Audouy says: "This was all sculpted in 3D and zbrush."
  50. Tested YouTube "The Production Design of Ghostbusters: Afterlife!" 16:19-16:33 1/26/2022 François Audouy says: "There's a combination of many different techniques to this, there's a combination of taking molds from real rock and there's also a lot of hand sculpting and the third thing that we're doing is we're cutting things on a four axis mill."
  51. Tested YouTube "The Production Design of Ghostbusters: Afterlife!" 17:42-17:56 1/26/2022 François Audouy says: "So everything above 15 feet or all of these squeezes in the corner rocks are all--that's all real rock and the benefit of that, too, is that it's only about this thick so it's super lightweight."
  52. Tested YouTube "The Production Design of Ghostbusters: Afterlife!" 18:34-18:55 1/26/2022 François Audouy says: "We've got a 10 person team coming in and they've--this whole whole floor is about a foot of styrofoam sandwiched between plywood and they just go in, they'll cut the circle in and then we have the pit that's pre-built sitting outside, the stage that comes in and just 'dook' slots in and we have an instant hellmouth."
  53. Inguanzo, Ozzy (2021). Ghostbusters: Afterlife The Art and Making of the Movie, p. 139. Titan Books, London UK, ISBN 1789096529. Line reads: "Shandor's coffin was patterned after real glass enclosures used to display the embalmed bodies of infamous leaders around the world and religious figures across Europe. Franson modeled one of Audouy's sketches in 3D, which was then distributed to the construction department and crafted to be elegant and sophisticated."
  54. Yes Have Some YouTube "Ben Eadie - Ghostbusters: Afterlife Props, RTV Trap, & Stories from set" 56:11-56:20 12/3/2021 Ben Eadie says: "We get all these packs in and they're not quite what Jason wants and we're like 'okay we gotta make this good' and--"
  55. Yes Have Some YouTube "Ben Eadie - Ghostbusters: Afterlife Props, RTV Trap, & Stories from set" 56:27-56:39 12/3/2021 Ben Eadie says: "And Peter's like 'you know I don't care what it'll take' and he put in some major major hours over a weekend along with a bunch of the Alberta Ghostbusters."
  56. Yes Have Some YouTube "Ben Eadie - Ghostbusters: Afterlife Props, RTV Trap, & Stories from set" 58:05-58:11 12/3/2021 Ben Eadie says: "The narrative is that they're controlled by that P.K.E. and that-that's a scratch build from this, the, Shannon Chapel guy."
  57. The Black Firehouse Podcast Spotify "Session 3: Ghostbusters Afterlife Gunners Seat & Sentry Proton Packs" 51:34-52:05 1/25/2022 Jordin Johanson says: "But we actually installed them which technically broke some rules because I think that's construction or set deck. But we took the packs, the Sentry Cannon bases, and we drilled into the fake stone walls and then put the straps across and mounted the Proton Wands using Home Depot, it was the only thing open on a holiday weekend, pipe fitting adapters."
  58. 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."
  59. 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."
  60. 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."
  61. 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."
  62. 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--"
  63. Ghostbusters News 3/17/2010
  64. Reddit AMA "AMA with the developers of 2009's Ghostbusters: The Video Game!" 7/16/16 Drew Haworth says: "Temple of Gozer was a really cool level pitched by Lead Game Designer Steven Cluff that didn't make it into production. Both Zuul & Vinz Clortho made appearances."
  65. Narrator (2016). Insight Editions- "Tobin's Spirit Guide" (2016) (Book p.81). Paragraph reads: "Ultimately, Gozer's physical essence was destroyed when we crossed our individual proton streams (risking total protonic reversal) and aimed them at the temple from which the deity had emerged into this plane of existence."
  66. Narrator (2016). Insight Editions- "Tobin's Spirit Guide" (2016) (Book p.84). Paragraph reads: "Its attempts to pressure Dr. Stantz into selecting a new form for Gozer were thwarted by the arrival of the other Ghostbusters, however, and Idulnas was dispersed by the concentrated blast of a proton grenade."
  67. Narrator (2016). Insight Editions- "Tobin's Spirit Guide" (2016) (Book p.87). Paragraph reads: "He designed many buildings but ultimately only built one: the apartment tower at 55 Central Park West, upon which he erected a temple to Gozer."
  68. Narrator (2016). Insight Editions- "Tobin's Spirit Guide" (2016) (Book p.91). Paragraph reads: "When we destroyed the temple Gozer had used as a gateway to this dimension, we also destroyed that particular manifestation of the Marshmallow Man; but this was not the last time Stay Puft appeared."

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