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Film > Ghostbusters > Ghostbusters 2019 Blu-Ray Fan Commentary
Ghostbusters 2019 Blu-Ray
Fan Commentary

This audio commentary features Troy Benjamin and Chris Stewart (Interdimensional Crossrip podcast, Proton Charging, Ghostbusters Headquarters), Ashley Victoria Robinson (Geek History Lesson podcast), and Sean Bishop (Ghostbusters prop replica expert); moderated by Ghost Corps' Eric Reich. I e-mailed Troy and Chris, who both told me that they recorded the commentary in the afternoon on Thursday, January 31, 2019 on the Sony lot.

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(L-R: Ashley Victoria Robinson, Eric Reich, Chris Stewart, Troy Benjamin, and Sean Bishop)
[image courtesy of Troy Benjamin]

Here are some of my favorite segments of the audio commentary.

Eric: Hey, everyone. This is Eric from Ghost Corps and I'm here with a few people you may recognize. Let's start with, uh, Troy and Chris here from the Ghostbusters lnterdimensional Crossrip podcast, Proton Charging, and Ghostbusters HQ. Welcome, guys.
Troy: Hello.
Chris: Hello.
Eric: Also excited to have Ashley here from the Geek History Lesson podcast.
Ashley: Thank you. I'm so excited to be here.
Eric: Hello. And last but certainly not least, you may know him from his amazing Ecto-1, and other prop replicas. Hey, Sean.
Sean: I am so psyched to be here. Good to see everybody.


Sean: You can see in the television edit, they always cut the "it's pissing me off" line.
Chris: What do they say?
Sean: Nothing. Just cut it.
Eric: It's gone, yeah.
Sean: And it goes, "I will, mister."
Eric: It's funny, the TV version was the first time I saw it. When it was the Saturday Night Movie.
Sean: Yes.
Eric: It was the first time I saw this, so I didn't know half of the lines as people know them until--
Sean: One of them made me angry.
Chris: I was gonna ask you about that. If you... I was pretty sure you didn't see it in theaters, 'cause we've talked about that before but I wasn't sure if you were, uh, a VHS kid or a TV kid.
Eric: I was a TV kid. It was, yeah... When you set up the VCR and you were ready to tape it when it was on Saturday night so you could watch it over and over.
Chris: "Saturday Night Movie: Ghostbusters."
Ashley: But then when you watch something that's taped off of television, you get so used to the commercials...
Sean: You do.
Ashley: ...you can remember exactly which ad comes at which act break.
Eric: So true.
Troy: And where the commercial breaks are. There's one, I'll point it out later. There's one that cracked me up every time I watched the TV edit to the point where it still cracks me up when I watch it on DVD and Blu-ray and wherever else.


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Troy: There's-- There's a whole-- There's a small subsect of fans that we adore all of Egon's calculators. That one right there is the Casio Micro-Mini. Hat tip to Alex Newborn.


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Chris: I'd like to point out the hilarity of the eventual Keymaster locking himself out of his apartment over and over again.
Troy: Yeah, how many times does he lock himself out and he's the Keymaster?
Sean: Pointing the Particle Thrower at Ray.
Ashley: I love that Egon is doing work with his pinkies out, because he is a goddamn gentleman.
Eric: Of course he is.
Troy: He's been to finishing school for scientists.
Ashley: [laughs]


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Troy: Fun story. Murray Rubin, his granddaughter and her boyfriend are Ghostbusters fans, and she was proposed to by her boyfriend right in front of this elevator in honor of her grandfather.
Chris: Right there.
Ashley: Awwwww.
Eric: It'll be a powerful nerd couple.
Troy: Yeah, it's amazing.


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Troy: Oh, so the birthday party here, that's Debbie Gibson.
Sean: Oh, yeah, I heard about that.
Troy: This was her first onscreen role before she was Debbie Gibson, the pop star.
Chris: Her older brother with the red hair, that's Rick Astley.
Troy: Is it really?
Chris: No, it's not. I just made that up.
Troy: But it is Debbie.
Eric: You just RickRolled us.
Troy: On a commentary.
Eric: In a Ghostbusters commentary.
Chris: I don't think it counts unless we have the song.
Eric: You can't do that.
Sean: I love the slow approach of the camera.


Chris: Thorazine's an anti-psychotic. It kinda makes sense that if somebody's having some sort of paranormal freak-out, you hit them with it.
Ashley: Yeah, and we're meant to be on his side because we know that this is an altruistic move that's done for her safety.
Chris: Well, no, here's the thing.
Ashley: However--
Chris: Exactly. Why does he have it on a date, and two, 300 CCs is WAY too much of anything.
Eric: It's a lot.


Eric: This version of Alessi's "Savin' the Day" is one that fans have always wanted forever, because it's got a different instrumentation and a different vocalization and then when you listen to it on the soundtrack album, it's a different version. So Alessi released an album called Every Version There Ever Was Or Will Be and it has all the different styles.
Ashley: Because there were too many extras.


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Troy: So here was the TV edit. So, there was a commercial break right...
Chris: There.
Troy: Here. So they have all this energy and they're heroes and everything is awesome and then they cut to a commercial and then you come back from the commercial on the TV edit and here they were on the stairwell.
Eric: About the same amount of time they were walking up that flight of stairs.
Ashley: Yeah, it's really--
Chris: If you look right by Ray's head, you see those two blocks. The top one is actually matted in.
Troy: That's where the matte painting starts.
Chris: The stairwell is actually more rectangular up rather than square.
Troy: And as Chris mentioned earlier, that's the Biltmore Hotel in Los Angeles.


Peter Venkman, in movie: Oh, I get it, I get it. Very cute! Whatever we think of. If we think of J. Edgar Hoover, J. Edgar Hoover will appear...
Troy: So, why isn't J. Edgar Hoover walking through the streets of New York right now? That's what I've never understood.
Chris: You know, for a doctor of psychology, he should've been aware of the whole "pink elephant" thinking phenomenon. "Don't think of pink elephants." Uh-oh!
Troy: Aww. "Thought of the pink elephant."
Eric: "Nobody choosed anything."
Chris: "Choosed anything."
All: [laughs]


Chris: I've always, in my head, just assumed that the marshmallow was ectoplasm-based. Otherwise, the burns going on here would be...
Ashley: [laughs]
Troy: Oh, yeah.
Chris: ...considerable.
Troy: Poor Walter Peck with molten marshmallow falling on him.
Eric: I love that story about them dumping it.
Chris: On the stunt guy?
Eric: On the stunt guy. I wish they left in the shot of the hat floating down.
Chris: A nice touch there, of the sun coming up on the horizon...
Troy: Yeah.
Chris: ...As they're about to leave in the morning. Like, just, everybody thought it through.
Eric: Their continuity game is on fleek.


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Troy: Thank you, guys, for being here. This was a lot of fun.
Eric: Thank you.
Sean: We are the thankful ones.
Ashley: Thanks for twisting our arms and convincing us to come.
Troy: I know that there are only a handful of you are here, but obviously, I think I speak for everyone that we wish all the fans around the world could be here doing this with us. There's so many people.
Eric: Yeah, we wouldn't be here if not for the fans, that's why this fandom is so giant, is the love of this movie, and I mean, this is really... It's funny, it's given me some of my most unexpected best moments
that have happened just out of, sort of, you know, the love for this film and the people that have brought it into my life, like the people sitting here, you know, and, like, friends far, friends near. Just like it's almost like a common language when you start talking to another fan. Troy: Around the world.
Chris: Our heads are full of this knowledge not because we figured it all out, it's because everybody's been sharing it back-and-forth for 2O years, right?
Eric: Yeah, all the time.
Chris: AJ Quick at GBFans, Paul Rudoff at Spook Central.
Eric: Alex Newborn.
Chris: Alex Newborn, Chad at Ghostbusters.net.
Troy: Yeah, Norm Gagnon...
Chris: Norm Gagnon.
Eric: Peter Mosen. He was the first.
Chris: Then we get to the franchises, which, at this point, I don't even think you can properly catalog.
Troy: You can't keep up.
Eric: No.
Troy: It's funny. You get one semi kind of throwaway line from the movie, "The franchise rights alone will make us rich beyond our wildest dreams." And everyone's like, "I'm a franchise." Suddenly it's canon. It's like--
Chris: An entire couple of generations of fans went, "Sold."
Ashley: There was an entire pocket industry of comic books expanding on that.
Eric: "I want to go to there."
Troy: Yeah, that's the coolest... I mean, I've talked to people... Chris and I have a really good friend that's a member of the Ghostbusters of Japan, Naoki, and he listens to our podcast and he's learning English by listening to us and he sends us these care packages of all of these cool Japanese snacks that are Ghostbusters themed.
Eric: That's adorable.
Chris: Frankly, I think we're getting the better end of that deal.
Troy: Oh, yeah.
Chris: The poor guy.
Eric: And GBMax who is--
Troy: Ghostbusters Italia.
Chris: Massimo is...
Troy: So nice.
Chris: I got to meet him. I got to meet him actually just last year and he is... Boy.
Frankly, I would swap all four of us for him to be here.
Troy: Oh, his enthusiasm, man.
Chris: He is so enthusiastic about this movie.
Troy: Such a nice dude. Yeah.
Chris: Oh, so amazing. Well, I mean, I'm in British Columbia, so the gang at the Ghostbusters of British Columbia, uh, the Ghostbusters of Ontario, the Ontario Ghostbusters--
Ashley: Heck, yeah.
Chris: Adriana and them are out there. Everywhere, Montreal, South Korea...
Troy: South Korea, Montreal...
Chris: England is covered.
Troy: Scotland, Germany.
Chris: Germany.
Ashley: Yeah.
Chris: England is filling up with teams all over the place.
Troy: Germany's props are amazing. Everything they do.
Chris: Yeah, by the way, Europe's con presence is--
Sean: Oh, they're no joke, man.
Ashley: Yeah.
Chris: They're one step away from just opening an amusement park together.
Sean: Yeah, they're incredible.
Troy: You know, when you think about the fan films that have popped up...
Chris: Yeah.
Troy: ...out of all this. Like, some of the effects are every bit as good as what was in here, so amazing.
Eric: Sorry, real quick. Just 'cause his name flashed up on the screen there, go seek out Making Ghostbusters by Don Shay. That's why he got a thanks there. If you want more behind the scenes tidbits and making-of stuff, that book is a wonderful resource.
Chris: That's a hard one to find. There's a kind of a trilogy. Making Ghostbusters and Cinefex number 17.
Eric: Cinefex number 17, also Don Shay.
Troy: Stay Puft on the cover? Yeah. There was a couple of Cinefex.
Chris: Stay Puft on the cover.
Eric: Yeah.
Chris: And then, The Ultimate Visual History...
Troy: Which was Daniel Wallace.
Chris: ...that just came out.
Eric: Get them all.
Chris: If you can get those three...
Troy: I understand there's a great one, Ecto Owner's Manual.
Chris: Oh, shoot.
Eric: It has also come out. It is very popular.
Chris: I should've known that.
Troy: I know a great book for you.
Eric: It's good. It's pretty good.
Chris: Sorry, there's four books now. I'm sorry, Troy. I'm so sorry, Troy.
Troy: That's okay. That's all in-world technology, like a technical manual.
Chris: Yes.
Troy: Well, there it is, everybody.
Eric: Yeah, thank you. So, maybe one more year, and we'll all be back here in 2020 to do this again.
Sean: Oh, God, yes.
Troy: We're gonna hold you to that, Eric.
Eric: All right.
Sean: I would mark that on my calendar now.
Eric: Thanks, guys.
Ashley: Just forget all the nice people that were just named and just call us.
Eric: And thank Ivan for us and all the guys who are still around involved with all of this. They've made a lifetime of fun for all of us, so...
Chris: Hasn't even ended yet.
Troy: No. The best is yet to come.

This is the full text transcript of everything that Eric Reich, Troy Benjamin, Chris Stewart, Ashley Victoria Robinson, and Sean Bishop said while watching the film back in 2019. The transcription was done using computer software reading the subtitle track from the GB1 & GB2 4K UHD & Blu-Ray 5-Disc Set. IT HAS NOT BEEN CHECKED FOR ERRORS OR PROPERLY FORMATTED. IF YOU WOULD LIKE TO DO THAT, FEEL FREE TO E-MAIL ME. (The subtitles seemed to confused Eric and Troy and lot, and I think left Sean out from time to time. Heck, at 1:16:30 it refers to Chris as "Charlie".)

ERIC REICH: Hey, everyone. This is Eric from Ghost Corps, and I'm here with a few people you may recognize.

Let's start with, uh, Troy and Chris here

from the Ghostbusters Interdimensional Crossrip podcast,

Proton Charging and Ghostbusters HQ. Welcome, guys.

-[Troy] Hello.

-[Chris] Hello.

[Eric] Also excited to have Ashley here from the Geek History Lesson podcast.

[Ashley] Thank you. I'm so excited to be here.

[Eric] Hello. And last but certainly not least,

you may know him from his amazing Ecto-1, and other prop replicas... Hey, Sean.

[Sean] I am so psyched to be here. Good to see you, everybody.

[Eric] Here we are.

[Sean] Here we are.

[Troy] At the New York Public Library.

[Chris] All right, hands up. Who's gotten to go?

[Eric] I, actually, was just there this last year with, uh, Ivan and Dan.

We went back and checked out the interior.

-[Troy] That's awesome.

-[Chris] All right.

You have a good reason to go.

- I mean, for us regular people who's gone.

-[Ashley laughs]

[Sean] I drove my Ecto up in front of it and got out and took pictures.

-[Chris] Did you? Nice.
-[Sean] I did.

[Ashley] I lived in New York for eight months when I was at school there

and I went and took several ridiculous photos,

so if you wanna find me on Facebook and be my Facebook friend,

you can scroll back and look for them.

[Eric] That's awesome.

I've been to the LA library that they filmed this. Does that count?

-[Ashley] Yes, it does.

-[Chris] Did you get to see it before they changed the basement?

[Eric] Uh, no-- No, I did not.

-[Chris] That's a shame.

-[Eric] Unfortunately.

So, it did not look like this.

[Chris] I do like a density of books, I'll say that.

-[Eric] Physical effects!

-[Ashley] I agree with that.

-[Chris] That's one of the best effects.

-[Troy] Books on wires, baby.

-[Ashley] That's why it holds up.

-[Troy] I love her. She's so great.

[Eric] Alice Drummond.

[Troy] I know. Let's hear it for Alice. She's amazing.

[Ashley] If we had glasses, I assure you, we'd be raising them.

[Chris] "Central Casting, we need a librarian."

-"We've got just the lady."

-[Eric] Yeah. [chuckles]

[Ashley] Would this have been Central Casting? Or would this have been--

-[Chris] No, she was auditioned.

-[Ashley] Yeah.

- But she's...

- I was like, "No way this is Central--"

[Chris] If you think of a librarian, we all think of her now.

[Ashley] Absolutely. Yeah, yeah.

[Troy] They just used air hoses to blow that out, that's amazing.

[Eric] I also have pity on the poor production assistant

that had to pick each one of these up after every take.

-[Troy] I know, right?

-[Ashley] Truly, yeah.

[chuckling]

[Troy] This is one of the first effects

that Jason Reitman actually remembers being on set for and watching.

[Ashley] One of my all-time favorite GIFs to use on Twitter.

And yes, I say "gifs" and not "jifs." [laughs]

-[Eric] 'Cause you're right.

-[Ashley] That's right.

[Eric] Ooh!

-[gasps] Surprise.

-[Ashley] Can you imagine how great this part would be? All your lines are just screaming.

You just got to emote.

-[Chris] Right.

-[Troy] What a great shot. I love that.

-[Chris] Count the statues in this movie.

-[Sean] Through the arms of the statue.

Like, "Come to me, my nerds."

[laughter]

[Ashley] I was gonna make something about

how it's evocative of a different brand of justice,

but I think yours is better.

[Chris] Imagine that front doorway there to your left.

[Troy] I heard that was supposed to say something different.

-[Chris] Yeah.

-[Eric] Oh, yeah.

It was actually a little more crass in previous drafts.

If you can imagine.

Square.

Good guess, but wrong.

So this is Steven Tash and Jennifer Runyon.

[Sean] Runyon from all of the '80s movies that we've seen.

I mean, yeah, uh, Roger Corman films.

That is some sweet feathered '80s hair.

[Ashley] God, her eyebrows are so great.

Is it a star?

It is.

[Troy] Love that I'm laughing.

Like, don't laugh at her. She's getting them all right.

[Eric] So this is called a Zener card experiment, uh, which...

[stammers]

Obviously is being a little tainted here by Dr. Venkman.

-[Troy] You think?

-[Eric] He's not exactly controlling this

the way a good scientist should.

[Sean] You know what's amazing? Speaking to--

[laughter]

That's never not funny.

[Eric] I heard he did that in his audition.

[Ashley] That's so gross, he puts it back in.

-[Eric] That's what they said.

-[Troy] Yeah.

[Sean] If you think about it from a character setup,

what a brilliant introduction for Peter Venkman.

You immediately know what type of person he is. Like...

from this first scene, it's incredible.

[Ashley] It reminds me a lot of, urn, Harry Houdini's later life

who also went on to try--

-[Troy] Debunking everybody.

-[Ashley] Yeah. It's very that.

And then it makes his arc by the end of the--

I was gonna say "episode"--

by the end of the movie so much more powerful.

You needed to see Bill Murray being funny right off the bat.

[Troy] Oh, God, yeah.

[Chris] I think that's a contractual thing.

[Sean] Yeah, I think everything he does is funny right off the bat.

[Eric] It's interesting, 'cause I think it was

one of the earlier preproduction drafts

that he was, like, meeting in front of the board of directors for the school

and that's why they get kicked out of the school.

'[Chris] Pig! Sorry. Oh, it was pig?

[Eric] Oh, the "I Love New York" pig.

[Troy] I love they build up the tension, like, "Please don't."

[Eric] Yeah, keep an eye on that pig which shows up all over the place.

[laughs]

I'm tired of this!

[Eric] Of course you are.

"We're paying you, aren't we?"

Yeah! But I didn't know you were gonna be giving me electric shocks.

[Chris] They pay better if you give blood.

[Ashley] They're lucky they got paid at all. No one in MKUltra got paid.

[Chris] I'm pretty sure paying people actually skews the results, too.

[Sean] You can see in the television edit,

they always cut the "it's pissing me off" line.

[Chris] What do they say?

-[Sean] Nothing. Just cut it.

-[Eric] It's gone, yeah.

[Sean] And it goes, "I will, mister."

[Eric] It's funny, the TV version was the first time I saw it.

When it was the Saturday Night Movie.

-[Sean] Yes.

-[Eric] It was the first time I saw this,

so I didn't know half of the lines as people know them until--

[Sean] One of them made me angry.

[Chris] I was gonna ask you about that. If you...

I was pretty sure you didn't see it in theaters,

'cause we've talked about that before but I wasn't sure if you were, uh,

a VHS kid or a TV kid.

[Eric] I was a TV kid. It was, yeah...

When you set up the VCR and you were ready to tape it when it was on Saturday night

-so you could watch it over and over.

-"Saturday Night Movie: Ghostbusters."

[Ashley] But then when you watch something that's taped off of television,

you get so used to the commercials...

-[Sean] You do.

-...you can remember exactly

-which ad comes at which act break.

-[Eric] So true.

And where the commercial breaks are. There's one, I'll point it out later.

There's one that cracked me up every time I watched the TV edit

to the point where it still cracks me up

when I watch it on DVD and Blu-ray and wherever else.

[Sean] By the way, another great character introduction with Ray coming in.

The second he comes in, you know what he's all about,

and I would say the same as when you see Egon.

-[Ashley] Absolutely.

- With the stethoscope at the table.

Like, you just know who they all are immediately, and you love them.

[Ashley] One of my favorite real-world pieces of trivia is, uh,

Dan Aykroyd's long ghostbusting familial history.

- I always think that's so fascinating.

-[Eric] Yeah.

And he's gone on to write books and speak about that extensively.

[Troy] Yeah, both his father and his grandfather

were in paranormal studies and sciences.

-[Sean] That's so great.

-[Ashley] Yeah!

[stammers] His grandfather from Ontario, Canada, which is also where I'm from.

So, I'm claiming that as my own.

[Eric] Your people are well-represented in this film.

[Ashley] That's right. [chuckles]

[Chris] It's always good when...

[Chris] It's always good when...

-[Eric] I love the scaffolding.

-...Dan shows up with a list.

[Eric] I know.

[Chris] Okay, I love playing...

Okay, the lady in the back there with the high collar,

you see her earlier when the librarian was walking around.

I don't know how many people might have some sort of movie OCD,

but I like looking for extras over and over.

[Troy] Yeah, same people show up over and over.

-[Sean] God bless Harold. There he is.

-[Eric] What is Egon doing to this table?

- Does anybody know?

-[Chris] That guy there on the right,

there's a guy behind the lady. He shows up in a scene later.

I thought he was listening for sounds.

Like, urn, a lot of paranormal guys, they go looking to discount things

like knocking water pipes and all that.

I always assumed that's what he was doing. He was just listening for stuff.

[Ashley] Oh, interesting.

[Sean] Best ad-lib.

My heart still hurts every time I see him, Harold.

I really miss him.

-[Chris] Yeah.

- He's so amazing.

[Ashley] I love that his look is fashionable again right now.

-[Chris] All of them are.

-[Eric] Yeah.

[Chris] I got a couple of check shirts like Venkman.

By accident, not on purpose at all.

[Ashley] You can see her lipstick doesn't reach to the corner of her mouth.

Who was doing last looks on this?

[Eric] That's such a librarian thing, though, isn't it?

I think that was probably purposeful.

-[Ashley] I don't think--

- No offense to librarians, but...

[Ashley] I'm gonna make a judgment and say it's not.

I just think it's interesting to notice.

[Chris] A lot of high collars for the ladies, though, and they never came back.

[Ashley] Urn...

[Chris] Or did they? I am not a lady. I would not know.

[Eric] Do we want to call out our first bumper sticker/T-shirt?

-[Sean] Yeah, it's coming up.

-[Troy] The first quotable line.

Are you, Alice, menstruating right now?

[Troy] Not that line, right?

[Ashley] Typical man, afraid of menstruation.

[Chris and Troy] "Back off, man, I'm a scientist."

[Chris] That's my second favorite T-shirt line: "Ray, it's moving."

[Eric] Yeah.

I'd like to apologize on all of our behalfs,

because we'll be saying a lot of those throughout this.

[Sean] Any fan listening to this commentary is doing the same thing.

[Ashley] I'm not sorry.

[Chris] So, what gutted the library basement? A fire?

[Eric] A fire. Yeah, there was a fire.

So, this is the LA Public Library, the main branch which is downtown.

And, uh-- Well, shoot, I forget when the fire actually happened,

but there was a fire and they had to redo this entire basement after filming.

[Ashley] I love that.

[Chris] I was at a screening for the movie once and there was a...

between movie one and movie two,

a contest where people were invited up on stage

and used bookshops had donated books,

and we had two teams try to beat each other doing a symmetrical book stacking.

-[Ashley] That's so cool.

-[Chris] The chaos was fantastic.

- That's like adult nerd Jenga right there.

- Basically.

[Sean] I love that line, "Listen. You smell something?"

-[Chris] He does that a couple of times.

-[Ashley] So gross.

Slime, also very trendy right now.

[Eric] Yeah.

Now, correct me if I'm wrong, but this is the first take, right?

Didn't Bill Murray do all of this on the very first take?

[Troy] Yeah, in the old commentary, I think, does Ivan call him One Take Bill?

-[Chris] One Take Bill.

- Yeah, One Take Bill.

[Chris] Although, what always gets me on this,

when you watch when he tries to flick it off

and he raps his knuckle and I go, "Ow."

-[Ashley] Ugh! "Aah!!!

All right, here we go.

[Ashley] I mean, the prime ingredient in that has to be glue.

[Chris] Here we go. Whack, whack, wipe, wipe, wipe.

[laughter]

[Chris] Okay, so somebody was saying this was an accident?

[Sean] I have to know if this was an accident or not.

[Eric] It's crazy to me that none of the books move.

[Troy] Yeah, and it's also cut out behind the wall there it looks like.

-[Sean] So someone pushed...

-[Eric] It's gotta be deliberate.

[Troy] Yeah.

[Sean] What, the Internet was wrong?

-[Ashley] I think...

- That doesn't happen.

...If it had actually fallen, there would've been a lot more swearing,

and it might not have been the take that made it in.

[Sean] Yeah, like, "Oh, my God, that almost killed us."

[Eric] Such a great shot.

[Troy] I love the sound of the PKE in this.

It's basically score and the PKE noise.

[high-pitched noise]

[Chris] What is that sound? Oh.

[Troy] I think this is also the first time Ivan ever used a Steadicam.

-[Eric] Oh, is it really? That's amazing.

- Yeah.

There's so many great Steadicam shots in this.

Oh, the first ghost.

[Chris] What I love is, they sell us on the idea

that ghosts are actually emanating light

even though they can't really do that with her, with the optical printing.

- Like--

-[Sean] It's geniusly made, though.

[Chris] You look at the guys, you see it flickering on them.

She's flickering on them.

[Eric] And the wind, there's wind--

[Sean] I love the subtle breeze that accompanies all the ghosts.

[Ashley] I also love that they're individually colored

and it tells you something about them,

like she's in purple because that's a status color.

It tells you that she has a certain amount of power.

[Chris] Yeah.

A lot of people say, especially when they were younger,

they get the jump scare when she... coming up here,

but that bit where they back off and she turns and looks at them,

that's actually when I got scared in the movie.

You never want a ghost to know you're there.

Where are you from?

[Chris] "Originally."

[Eric] This one right here is what freaks you out?

[Chris] No, no. Just previously when he grabbed him by the ear

and he's pulling them back.

As they're pulling back, she turns and looks at them, and I'm like... [groans]

[Eric] The crazy thing about the jump scare...

[Ashley] What are you like?

[Eric] ...is, I feel like, 'cause there was Elmer Bernstein's score here

where there was actually a harder hit, wasn't there?

And maybe they tried to soften it a little bit

by putting The busboys' "Cleanin' Up the Town" in there.

[Troy] This whole score is perfect.

-[Eric] For us little kids.

-[Chris] I thought that was...

Yeah, maybe. I also thought it was strange.

[Sean] Bernie Wrightson, baby.

- The man knows how to draw.

-[Ashley] So good.

[Chris] I thought it was harkening back to, like, the Bowery Boys,

all those movies that inspired them.

[Sean] This is very like Three Stooges-esque

-with them all hightailing out.

-[Chris] And the music suits.

- Look, he's doing like the turn and run.

- Yeah, exactly.

That's the Chaplin turn, it's so great.

[Chris] Skip, skip, skip.

[Ashley] I love that Bill Murray will not swing his arms when he runs.

[Chris] So, over your right shoulder, that's where Weaver Hall is.

Like, if you go there, they're...

And right over there is where the statue is at the beginning.

Like, it's really tightly laid together, it's beautiful.

[Ashley] Well, everything about this movie is an economy of storytelling.

From the score to the setting.

[Chris] Oh, yeah. The themes, the-- the visual themes, like...

"Okay, sir, whatever you do, do not look at the camera.

Sir, we told you, don't look at the camera."

[Eric] I like that they ran from the New York Public Library,

which is down on the, like, southeastern side of Central Park,

all the way up to Columbia University

which is on the very northern point of Manhattan.

[Chris] I had a very expensive cab ride because I went,

"it's just... From 55 Central Park West, it's not that far."

-[Troy] It is.

-[Chris] It's very far.

[Ashley] How many subway stops is that?

[Troy] Although, that's a good story point, Eric. I'm just pointing this out.

There could be a passage of time there

where we haven't heard any story that happened.

They were on the cab ride, or the subway ride on the way from...

[Eric] That's a good point.

[Chris] You know, if you happen to be talking to any,

I don't know, comic book companies or anything.

[Eric] We'll fill in that gap for you.

[Chris] I love the posters. The "Go for it" soccer poster.

"You call it homework, I call it..." What? I can't remember that one.

- But the kids love us.

-[Ashley] He says without any conviction.

[Eric] I love how he hisses that...

-[Troy] The Air Supply guy?

-[Sean] You can hear the Air Supply song

which took me forever to figure out why is this on the Ghostbusters album.

[Eric] I finally heard it in his headphones walking by.

-[Troy] He's rocking on.

-[Chris] He's not paying attention,

'cause he's rocking to a different song by the look of it.

A lot of the novelizations gave names to, like, the Mayor and all that,

and they never did for him, so I always like to pretend his first name is Dean.

-[Troy] Just Dean?

-[Chris, Eric] Dean Yeager.

This is a major disgrace.

[Chris] Production car. Sorry.

-[Eric] Stop pointing out gaffes.

-[Chris] And it'll come and go.

I love the people watching on the right there.

They're just milling about, watching the film.

[Sean] Yeah. Nothing happening.

Not a major motion picture filming over there.

[Ashley] No PA sent over there to be like...

[Eric] I like Murray's shoes. They're great.

..."Move along, move along."

[Troy] God, I mean, the fashion actually is coming back around in this movie.

Like, I want that jacket that Ray is wearing.

[Chris] Yeah, I want Venkman's.

That's a good rain jacket for Vancouver where I live.

[Eric] Chris, you and I are also obsessed with the apricot brandy here.

[Chris] Yes, yes, yes.

[Eric] They actually don't make that anymore.

[Chris] It sounds horrible, but I kind of wanna try it.

[Ashley] It does sound horrible.

[Sean] It's apricot flavored.

-[Troy] They still make that?

-[Chris] No.

[Eric] The brand still makes apricot flavored brandy.

-[Chris] Do they? Oh, God.

- Yeah.

[Chris] Maybe we ought to try it.

-[Eric] I like his excited bounce.

-[Ashley] Yeah.

[Chris] He's like, "I've sold you on it. This is totally happening."

[Ashley] To me, that's such-- that's such an improv, like,

"I'm so ready to... yes, I am, but I'm gonna wait for you to finish talking."

[Sean] With each take, the interest he owed went up, like, exponentially.

-[Chris] Yeah.

- With every take they did.

[Troy] Oh, my God, Egan's calculator.

[Chris] Two quick things. There, behind Venkman,

-you see the young man with the hair?

-[Ashley] Mm-hmm.

[Chris] He was the guy that was sitting in the library earlier.

And the library is just to the left of Venkman across the street.

Like, again, just nicely tied together how they filmed all this.

-[Ashley] RIP calculators.

-[Eric] Yeah.

There's-- There's a whole-- There's a small subsect of fans

that we adore all of Egon's calculators.

That one right there is the Casio Micro-Mini.

Hat tip to Alex Newborn.

[Sean] Hook & Ladder 8 in Tribeca.

-[Ashley] At the time of this recording...

-[Chris] And now we're in LA.

It was recently all refurbished and redone.

-[Troy] No...

-[Eric] Yeah, just recently.

[Troy] Hook & Ladder 8, yeah.

- They're about to do that with 23.

-[Ashley] Yeah.

[Chris] I don't even know if refurbish covers it. Like, they-- they gutted it...

[Ashley] It was covered with scaffolding for years.

[Chris] ...so it could hold heavy trucks and all that. They really did work on it.

[Troy] Couldn't it already hold heavy trucks?

[Chris] Well, apparently, it was running out of time on that one.

[Eric] That's an important distinction for people that may not know.

There were two separate firehouses. The exteriors were all in New York City

which is the Hook & Ladder Number 8 in Tribeca,

and then they filmed downtown at Fire Station 23,

which is down in the, uh, downtown...

[Troy] I actually learned from the New York City Ghostbusters

-that the Hook & Ladder 8 was cut in half.

-[Chris] Yeah.

[Troy] Originally, it was two smashed up next to each other...

-[Eric] Wow.

-...and they, uh, tore one down.

[Eric] Supposedly, the same designer that designed Hook & Ladder 8 in Tribeca

came out here and did Firehouse 23.

-[Chris] Was it the same designer?

-[Eric] I had heard that, yeah.

-[Troy] It's the same time period.

-[Chris] It's the same year.

[Troy] Absolutely was. He came out here and designed that

which is why it's such a perfect match for New York,

and apparently, they didn't even know it when they found it.

This can be confirmed by the people who worked on the film...

[Eric] Yeah, absolutely.

[Troy] Yeah, of course, here we are.

[Troy, sultry growl]

[Eric] I was gonna say, as we all go, "Oh, Sigourney..."

[Troy] '80s beauty and jaywalking

-on a busy street on Fifth Avenue.

-[Ashley] Oh, the hair, too.

[Sean] What did you bring up, Troy?

How much does a cellist make for the New York Philharmonic?

[Troy] Dude, based on this movie, a lot.

What am I doing not being a cellist?

[Chris] The guy that got on the elevator, watch for him, he shows up two more times.

[Ashley] Sometimes, particularly in New York, if you were part of a symphony,

they will house you in the same building,

like Carnegie Hall had apartments above it for a long time.

-[Chris] Really?

- So, it's taken out of your salary.

So, we might assume that that's the case?

-[Chris gasps] Orchestra slaves?

-[Ashley] Yeah, basically.

[Troy] That's terrible.

-[Eric] I kind of want that jumpsuit.

-[Chris] Same here.

It's a very Bond running suit.

[Ashley] Just imagine him with a white cat.

Another nice Canadian.

-[Eric] Yeah, Rick Moranis.

-[Sean] Yep.

[Eric] Who's better at the long rambles, though, Dan or Rick?

[Sean] That's too close to call.

[Ashley] It's tough, 'cause it's different.

[Troy] Yeah.

[Chris] Two very different types of rambles.

[Eric] Knowing that he did that sort of "acetylsalicylic acid" thing

that he did, which was mostly just ad-libbed,

'cause they followed him around with a camera,

that blows my brain up.

[Eric] Clunk.

Okay, so I'll see you later, huh? I'll give you a call!

[Sean] Art Deco, very nice.

[Chris] I had a roommate before I got married and that was his...

when we'd part ways, he always left going, "All right, I'm gonna have a shower!"

- And that was his good-bye.

-[Troy] That's funny.

[Eric] How many calls did this number get?

[Troy] So this is a Greeked-out number that's in the movie,

but they did have, like, an 800 number set up.

I think Michael Gross said that it got...

[Chris] It's the same number, though.

It's an 800 and New York non-555 plus the 2368.

-[Troy] Yeah.

- You could call.

[Eric] And it got something like 1,000 calls an hour for 24 hours a day

-for like six weeks.

-[Sean] Six months or six weeks.

That's insane.

[Eric] And then, later, for the...

[Troy] All before viral marketing, by the way.

- That's true. Yeah, there were radio ads.

- Yeah, that's saying something.

They did these great radio ads with Edie McClurg and Joe Flaherty

where there were testimonials

of the people that had called the Ghostbusters.

And that's what the number was attached to.

[Eric] Stay Puft marshmallows, obviously.

- Hello.

-[Ashley] The best.

[Chris] I own a test silk-screening of that.

-[Eric] Practical effects.

-[Troy] Oh, is that the one that you have?

[Chris] Yeah, I don't have a bag, but they did a test silk-screening on Mylar

before they made the bags, and I have one of the tests.

-[Sean] Oh, that's cool.

- Really nice.

-[Eric] This was all done practically.

-[Chris] Yeah.

[Sean] Yeah, wasn't this air blowing the eggs out?

-[Eric] Yeah.

-[Chris] Heat up some tile, away you go.

[Sean] Yeah, heat up some tile.

[Chris] Listen, I don't wanna make anybody uncomfortable

for the rest of the time when you watch this thing,

but anybody notice that Dana doesn't have a bathroom in her apartment?

[Ashley laughs]

[Eric] That's the trade-off.

She has a really good view of Central Park but no bathroom.

[Chris] Why is this place so cheap?

[Sean] It's in the refrigerator. It's huge.

[Troy] I would imagine that's probably conserving space

because John DeCuir, they built both Louis and Dana's apartments

on the same soundstage with the hallway in between,

so they probably didn't have the space on the stage

to put in stuff you would never see on-screen.

[Chris] Stop covering for them, Troy.

-[Troy] It's John DeCuir.

-[Eric chuckles] I love that.

-[Ashley] Oh, the original Ghostbusters...

- See the sign.

[Troy] Oh, here comes Sean. [imitates siren wail]

[Sean] In the speech that used to make me laugh.

[Chris] Sir, where are you going with that chunk of wood anyway? Bring that back.

[Troy] Maybe you wanna elaborate for the listeners there, Sean,

why did this $4,800, uh, speech make you laugh?

[Sean] 'Cause...

[Chris] I mean, that's cheap, right? I'm gonna go get one now.

-[Troy] $4,800.

-All this, all that. Yeah, that, too.

[Eric] No, he's lying. He's lying. It cost him more than that.

[Chris] Hey, there's that production vehicle again, by the way.

-[Ashley] Janine!

-[Eric] Janine.

-[Ashley] I love her so much.

-[Troy] Annie Potts is amazing.

-[Chris] Venkman, give me your shirt.

-[Ashley] First female Ghostbuster.

[Troy] I finally found that photo of the firemen on the back wall.

-[Chris] Did you?

- It took me a while but I did find it.

[Chris] What is it? Is it...

[Troy] It's a photo of firemen.

- I told you.

-[Chris] Oh, wow. Okay. Jeez.

You know, you ask a dumb question...

[Eric] Isn't that photo actually of the firehouse?

[Troy, Sean] Yeah.

[Eric] The New York one or the LA?

[Troy] Uh, I'm not sure.

[Eric] It's probably Hook & Ladder Number 8, right?

[Troy] Yeah.

-[Chris] Look at that chair go...

-[Ashley] It's so good.

I bet you like to read a lot, too.

Print is dead.

[Chris] Called it.

[Ashley] Yeah, that's very prescient for this time.

[Eric] I like that Janine just does not listen to anything he's saying.

[Ashley] I also love that she just doesn't look through her glasses.

-[Eric] I know. She looks over them.

- At all.

[Troy] This is Janine's video-dating application.

[Ashley laughs]

[Troy] Who doesn't?

The racquetball thing I've noticed on subsequent viewings.

I like to point out stuff that I've noticed on my 500th viewing.

But, like, there's a racquetball theme with Janine,

that carries over, she's getting ready to go play racquetball,

there's racquetball articles on the second floor.

[Sean] See, in my backyard, I call this a Sunday.

Except, Sigourney Weaver never shows up.

[Chris] Okay, lower left.

[Troy] Okay, yeah, watch the lower left corner.

[Eric] Oh, yeah. He almost eats it.

[Chris] We're debating, though, is it a sound guy or a cuing Murray guy?

[Eric] Yeah, so, see, there's a guy in the lower left corner that moves

and I think he cues Bill Murray and then Bill Murray almost eats it.

[Ashley] God, that could've gone so poorly.

[Sean] That could've been upsetting.

[Chris] "Well, we've lost the star of the movie.

Well, I mean, he's alive, but his face is gone."

[Ashley] Yeah.

"Who did we have on our shortlist? Uh, get Eddie Murphy in here for this."

[Sean] "Quick, get John Belushi. Oh, no."

And this voice said "Zuul." And then I slammed the refrigerator door and I left.

[Troy] Dana does not have to wear a colander on her head.

- Quickly point that out.

-[Sean] I think Egon hadn't built it yet.

-[Troy] Hasn't been built yet?

- He'll be tinkering at midnight

and tried out the prototype on Louis.

-[Chris] It's a good... In movie logic...

-[Eric] Yeah.

...but if she had worn a colander, Louis' joke wouldn't have been funny.

-[Troy] That's a good point.

-[Ashley] They might've asked her to,

and she might've said no.

[Chris] Well, it is beautiful hair, so, I mean.

[Eric] Yeah.

-"You want me to wear what?"

-[Ashley] Yeah.

"Have you seen my magnificent hair?"

[Chris] My dad had nothing but a closet full of those.

-[Ashley] Those jackets?

-[Chris] Denim jackets.

-[Ashley] That's a good Canadian look.

-[Chris] It totally is.

[Ashley] 'Cause my father had them, too.

[Chris] By the way, I'd like to point out--

[Sean] I always want Cheez-Its every time I see this scene.

[Chris] What I only noticed... I hadn't really thought about it,

those two are such bros. That's a three-person seat.

They're happily sitting next to one another.

[Eric] They are. They're brothers.

[Ashley] And there's no weird joke about it.

There's no...

[Chris] They're happily talking about ghost stuff.

They're fine.

[Ashley] Positive masculine portrayal on film.

[Eric] Somebody needs to write a Spates Catalog, Tobin's Spirit Guide...

[Troy] As well as The Roylance Guide.

[Chris] The Roylance Guide

and Leon Zundwxgevs Magicians, Martyrs, and Madmen.

- That's the one.

-[Eric] Yes.

[Chris] That's in the second movie. Look at that.

There's Lincoln Center, by the way.

[Troy] She's right by Lincoln Center.

[Chris] She is so close and it's fantastic.

[Eric] God, awesome matte paintings in this movie.

[Chris] Yeah, they do it in the later matte painting, too.

You can see Lincoln Center.

[Eric] Okay, show of hands, how many people...

[Chris] Maybe that's the bathroom.

...walk into a room with a piano and do this every time

-and it drives your friends crazy?

-[Troy] Oh, everybody.

- Everybody who's seen this film does that.

-[Chris] No, that's the closet.

[Ashley, chuckles] Yeah.

They hate this.

I like to torture them. That's right, boys.

[Troy] Stop showing off, Venkman.

-[Sean] Bacharach Sniffer.

-[Eric] Bacharach Sniffer, yeah.

This is one of those props.

-[Chris] That's a hazardous gas. Isn't it?

-[Sean] He's testing for ghost farts.

[Troy] Yeah, it's a ghost detector, uh, made out of a gas--

-[Sean] Radon gas or something like that?

-[Troy] Yeah.

For, uh, radioactive and radon gas.

[Ashley] Do we believe they just handed a PA a bunch of stuff

and said, "Make something"?

[Sean] Oh, no, that's an actual.

-[Ashley] Oh, is it really?

-[Sean] Yeah.

They got a whole bunch of gear from out of APEX down here

-and off of Lankershim.

-[Ashley] Fascinating.

[Troy] Oh, man. The firehouse has so much cool APEX gear.

-[Sean] it does.

-[Chris] That what that place is called?

- That big, giant warehouse?

-[Troy] Yeah.

-[Sean] APEX, Norton.

-[Chris] Okay.

I have heard tales. I have never been.

[Troy] They get all of the cool aerospace stuff

and that's what they end up using.

So, the reasoning we came up for this

for a book that we did on the Ecto-mobile...

[Eric] Look at the look that she gives him.

[Troy] The Bacharach Sniffer, we just turned in,

he was collecting air samples

so that they had tangible evidence, for-- you know, for the skeptics.

For people that don't believe in ghosts, they could have atmospheric evidence

that ghosts are real.

Dana, are these the eggs?

[Chris] Yeah. No, it's the ones behind you, sir.

[Ashley] "Well, I keep a number of egg deposits

across my apartment at all times."

"You like sunny-side up, right?"

Dr. Venkman, you've come all this way. Would you like to...

[Chris] Her patience is starting to wear thin.

I'll check the fridge. Good call.

[Eric] "Good call."

[Sean] I wanna point out that she's got a New York apartment

-that has room for an island in it.

-[Chris] Yeah.

-[Ashley] That's more than one room.

-[Troy] It's good to be a cellist.

[Eric] Yeah, everyone did have that dish, right?

[Troy] Everyone had it. My grandmother had it.

[Eric] There's so much nostalgia here.

-[Chris] Corningware?

-[Eric] Yeah.

[Troy] Coca-Cola.

-[Eric] The Coca-Cola thing.

-[Chris] Coca-Cola, yeah.

[Eric] Yeah, Coca-Cola product placement is...

Because Coca-Cola owned Columbia Studios at this point in time, so...

Look at that label facing the camera.

[Chris] Two of them. They wanted both camera angles to have a Coke can in it.

[Ashley] Well, 'cause there's the other food product in there

that is recognizable... There's a Smucker's jam jar that's turned away.

[Eric] Yeah.

[Troy] I think so.

Well, that's great.

Either I have a monster in my kitchen or I'm completely crazy.

-[Ashley] I've seen that on a T-shirt.

-[Troy] Yeah.

You've got a monster in your kitchen. Just not the type you think.

[Chris] This is when, uh, Margaret Dumont really shines through.

[Troy] Yeah. Oh, yeah.

[Eric] I mean, the best part about this particular scene is that

on the production draft of the script,

maybe half of this was scripted, I wanna say,

and it was Ivan and Bill and Sigourney workshopping for weeks in advance,

putting this scene together and rehearsing and...

There's great deleted scenes of this

if you go seek them out, here on this disc.

And then she threw me out of her life.

She thought I was a creep, she thought I was a geek...

[Chris] Venkman, that's not in your head. You're saying that out loud, sir.

[Eric] That look.

I've got it!

No, no, no, no, no.

I'll prove myself to you.

That's not necessary.

Yeah, I'll solve your little problem.

- Okay.

-And then you'll say,

"Pete Venkman's a guy who can get things done."

- Right.

-"I wonder what makes him tick."

I wonder.

"I wonder if he'd be interested in knowing what makes me tick?"

[Chris] And out the door.

[Ashley] She'd be so good at online dating 'cause she's just telling him

what he wants to hear to get him out of her life.

[Sean] I bet you could recut scenes from Ghostbusters to do a trailer

about this guy that just goes around kidnapping girls with Thorazine.

[Ashley] Yes.

[Troy] We're gonna have to come back to the Thorazine, yeah.

[Chris] I'd like to point out the hilarity of the eventual keymaster

locking himself out of his apartment over and over again.

[Troy] Yeah, how many times does he lock himself out and he's the keymaster?

[Sean] Pointing the Particle Thrower at Ray.

[Ashley] I love that Egon is doing work with his pinkies out,

-because he is a goddamn gentleman.

-[Eric] Of course he is.

He's been to finishing school for scientists.

[Troy] It's interesting, though, he's working on the Particle Thrower here.

There's been a passage of time between that cut.

-[Chris] Yeah.

- I don't know how much time, but...

[Ashley] Oh, man. I want Janine's sweater.

[Chris] This is her, Troy, you were saying, getting ready for racquetball?

[Troy] I think, yeah, she's putting on tennis shoes, so in my head, I'm thinking,

she's getting ready to go play racquetball.

The racquetball thing just keeps coming back.

[Eric] Cute little call back, if that's the case.

[Chris] I like how precise Egon is with his... while eating and the screwdriver.

Pulls it out, sets it down precisely.

[Ashley] Look, her lipstick matches her nail polish.

-[Chris] Well, of course.

-[Troy] Yeah.

[Ashley] And her lipstick is all the way round.

[Troy] Oh, watch Egon.

Watch Egon. This is one of my favorite parts in the movie.

They're hurried, they're hurried, Harold waits, fixes his tie.

[all laughing]

[Sean] I love that it terrifies him coming down the pole.

[Ashley] Can you believe they let them go down?

[Sean] If they were gonna demo that building,

we were gonna steal those lockers.

-[Chris] Yeah.

-[Sean] Go in there, and I don't know how.

[chuckles]

-[Eric] There it is.

-[Chris] There we go. One perfect shot.

[Sean] Might be one of my favorite shots in the movie.

-[Ashley] Love that sound.

-[Sean] By the way,

if any of you actually have the means to do this in real life,

meaning pull out of the Ghostbusters firehouse in the car,

I highly recommend it.

And it doesn't go that fast.

[Eric] I was gonna say, can the car go that fast

to really burn some rubber on those corners?

[Chris] And back to LA.

[Sean] Well, I would've said no, but then I saw that commercial.

[Troy] So, this is the Biltmore Hotel which is an Ivan Reitman staple.

- Right, Eric? This is...

-[Eric] It is.

[Troy] He's filmed Junior, Dave, this.

There are inserts, I think, from Ghostbusters II

that they filmed out front.

[Chris] This is the northern end of the Biltmore, I think?

-[Troy] Yes.

-[Eric] Yeah.

It is beautiful. That hotel is beautiful.

[Ashley] And it's one of those fun locations that you can just walk into.

[Troy]
The ballroom is now part of the lobby.

-[Eric] Yeah.

-[Chris] Right behind Ray,

like just almost inside those first doors, there's a really hidden doorway,

it's the fire escape stairwell.

[Eric] That spirals up, right?

[Chris] And that becomes the stairwell at the end of the movie.

-[Ashley] Oh, nice.

-[Eric] That's cool.

[Chris] You were saying they had to-- Oh, there we go.

-[Troy] Murray Rubin.

-[Chris] Murray Rubin.

[Troy] So, fun story. Murray Rubin,

his granddaughter and her boyfriend are Ghostbusters fans,

and she was proposed to by her boyfriend right in front of this elevator

in honor of her grandfather.

[Eric] It'll be a powerful nerd couple.

[Troy] Yeah, it's amazing.

Also, that wall is not there in real life. They put that...

That's actually what the lobby used to be,

so I'm guessing that the lobby was still functioning

while they were filming and they had to put that up to block it off.

[Chris] So, from the Ecto and the lights, one perfect shot.

- This, one perfect shot.

-[Troy] Yeah.

[Chris] This movie is filled with so many perfect shots.

[Troy] Hat tip to Laszlo Kovacs.

[Sean] Here comes a cheat that has sparked debate among Pack builders forever.

Where is this switch?

[Troy] Yeah, is there a switch back there, Sean?

[Sean] I use the crank knob...

-[Troy] Okay. Yeah.

-...to turn that thing on.

[Troy] I would imagine he could've turned the crank knob.

[Sean] It made perfect sense. And it has a satisfying click when you do it, too.

[Troy] Here's another thing that vexed Pack builders for the longest time.

This particular frame coming up.

[Sean] Oh, we'll see. No, it's when he starts running.

-[Troy] Oh, it's when he starts running?

- Yeah.

-[Eric] Yeah.

-[Sean] Believe me.

[Troy] "Believe me."

-[Eric] Here we go.

-[Troy] Okay, so...

-[Sean] Talk about the cart?

-[Eric] Wasn't there a story here

with the housekeeper, that the pyrotechnic people

didn't tell her that this explosion was coming,

and that her "what the hell are you doing" was totally real?

What the hell are you doing?

[Troy] There was that story, but I actually showed this

to Ivan pretty recently,

and he does not remember it that way.

He was sure that she knew the pyrotechnics were coming.

[Chris] I love that.

- Spritz, spritz, spritz.

-[Eric] That makes sense.

[Troy] From a safety standpoint, you wanna tell everybody.

[Eric] I hope they gave her a bonus for coming up with this.

[Ashley] Also, if there's alcohol in that cleaner,

it's gonna be completely ineffective and a flamethrower.

I love this.

[Eric] Weren't we talking about how weird it is, the ambient sound of a television?

-[Chris] Yeah.

-[Troy] Yeah, that is something that,

Chris, you and I have asked Ivan what that source audio is.

[Eric] I almost felt like it was someone had their TV turned up really loud.

[Chris] Well, that's what it is.

[Ashley] It's such a horror movie shorthand, too.

[Chris] Exactly, we can't identify it, that's what kills me.

[Eric] It feels like it was part of another scene.

Oh, Onionhead.

-[???] So...

-[Troy] Yeah.

[Eric] Was this really an homage to John Belushi's character in Animal House?

- I'd already heard that...

-[Troy] Yeah, Dan has said that it was.

[Eric] That's so cool.

Way to get him in the film.

[Ashley] Yeah.

-[Eric] That puppetry work is so great.

-[Troy] Yeah.

[Eric] Oh, my God, that's amazing.

[Chris] Yeah, somebody running the arms, somebody running the mouth and the tongue.

-[Eric] Yeah.

- That's gotta be, what, three people?

-[Eric] Probably.

-[Ashley] At least.

-[Chris] Running that thing?

-[Eric] Yeah.

[Troy] And then you got a motion-controlled camera

that how many people are having to operate because it's the pre-digital computer era.

[Sean] There's your mad ape sound effect.

-[Eric] The remote-controlled cart, there.

-[Troy] The angry gorilla.

[Chris] Wobbly wall!

-[Troy] Boom!

-[Chris chuckles]

Oh, well, you can't get everything.

[Sean] I had read somewhere

that the poor guy who was driving the motorized cart

had to leap out at the last minute...

-[Ashley] Oh, no.

-...before it hit the wall.

-[Eric] You're kidding.

-[Sean] I don't know if that's true.

[Troy] I thought it was remote-controlled.

-[Eric] I've heard both, which is strange.

-[Troy] Funny.

[Eric] See, again, the Internet, you can't trust it.

[Troy] One of the most iconic scenes in the movie here coming up.

-[Ashley] Yeah.

-[Eric] His posture. He's hysterical.

Come in, Ray.

[Chris] Way back in the day, just to be super-nerdy,

when we all used that certain first popular, uh, Internet browser.

-[Eric] Yeah.

- When you would go to a website,

it was loading, it had that little animated... their logo.

You could take that out

-and put in your own frames.

-[Troy] That's funny.

[Chris] So, I had Venkman...

-into his walkie-talkie.

-[Troy] Here we go.

And then, you know, the Internet evolved--

[Sean] Corning up is the scene all of us builders paused 1,000 times...

-[Chris] That one there.

-...thinking there were two white lights

on the side of the power cell.

-[Ashley groans] So gross.

-[Sean] Here you go.

[Eric] So, Sean, when you were building your first Pack,

did you have a VHS copy that you were pausing?

-[Sean] Yeah.

-[Eric] What were you doing?

[Sean] Pausing and trying to read between the static lines.

-[Eric] "What is that?"

-[Ashley] Yeah.

[Sean] So, I had to rebuild them 500 times.

[Ashley] Do you know off the top of your head how much an average Pack weighs?

-[Troy] Too much.

-[Sean] Depending on...

-[Chris] The materials used.

-...what crazy builder

you have building it, some weigh up to 30, 35 pounds

if they load them with servos and electronics...

[Ashley] So, it's like a real rucksack. That's crazy.

[Sean] Mine are probably about 15 to 20 pounds apiece.

-[Ashley] A little more functional.

-[Sean] Yeah, a little bit.

-[Ashley] A little more functional.

-[Sean] Yeah, a little bit.

-It's better on your lumbar support there.

-[Ashley] Yeah.

[Chris] Those doors they went through are now permanently closed

and a little further down, it's been turned into an archway,

-'cause this is now the front lobby.

-[Eric] Yeah, it is.

Which you can only tell by that ceiling because that ceiling is beautiful.

[Troy] The lobby's beautiful.

[Chris] It's funny, though, you get to see it and you're like,

"This is a lot smaller than it looks like in the movie."

[Troy] Yeah.

[Chris] Lenses.

[Ashley] Yeah.

[Sean] I love that classic framing they do with these guys

peeking out from behind things, that's very Marx Brothers, which I love.

[Ashley] I love anytime they're lit from below like that, too.

[laughter]

I did that. I did that. That's my fault.

[Chris] Good Canadian lad. "Sorry, sorry, sorry."

[Ashley] Yeah.

[Troy] I love this.

- What?

-Don't cross the streams.

- Why?

-It would be bad.

[Ashley] That's another T-shirt, bumper sticker.

[Troy] Oh, that's true. Yeah.

What do you mean, bad?

Try to imagine all life as you know it stopping...

[Chris] Yeah, that light coming off the throwers is kinda cool.

[Eric] It is.

Total protonic reversal.

[Eric] Yes.

[Chris] I love that Ray can't make the leaps that Egon does

but when Egon lays it out,

- Ray instantly understands it.

-[Eric] Yeah, yeah, yeah.

-[Chris] He knows the science...

-it's a great dynamic between them.

It's so fun.

-[Chris] Again, a cut...

-[Eric] A perfectly good waste of red.

Are you kidding me?

[Chris] You know, that cake looks a little lopsided.

Is it because perhaps it's set to blow up?

-[Sean] Yeah, right?

-[Troy] Oh, no. Never.

[Ashley] No, it's because there's paranormal activity going on.

[Chris] What I loved about this is that bit--

[Sean] Okay, I got to say, at this point, I kinda feel bad for Slimer in the movie.

I feel like he's up there, he's panting, like he's too afraid to, like...

-[Troy] Yeah, poor guy.

- My heart breaks a little bit for him.

I'm glad he gets loose.

[Ashley] My first exposure to Ghostbusters was through the cartoon,

and I thought for a long time that Slimer was, like, legitimately scary.

-[Eric] Oh, yeah.

-[Troy] He is.

[Ashley] So, it's funny to come... You know, I came to this movie late

but to be watching it now and be like, "No, he's like the fun ghost."

[Eric] I know. See, he's panting up there.

[Ashley] He working really hard. He's getting his 10,000 steps in.

-[Troy] Yeah.

-[Eric] Here we go.

-[Ashley] I love it.

-[Chris] The flowers are still standing.

If I ever became a millionaire, I just want a ballroom

that me and my friends can go in and flip tables over, like--

[Eric] Okay, I know, everyone loves CG,

but, man, those optical effects are gorgeous.

[Troy] The animation on the streams is...

So, that's a Michael C. Gross touch to the movie.

Venkman, shorten your stream. I don't want my face burned off.

[Chris] A guy animating lightning is way different than asking a computer--

[Sean] Have we ever figured out what a proton beam does to human flesh?

Has anyone ever explored that? Might be--

[Chris] Well, it cut a hole in wood and set wallpaper on fire,

so it can't be good.

[Sean] I have a feeling it might be semi-lethal.

[Troy] Worse than looking into the trap, I'll tell you that much.

[Chris] I liked it. It's a subtle thing.

But they even had to paint the open trap light onto the guys.

-[Ashley] Yep.

-'Cause it just wasn't there in the shot.

[Sean] Tell you what, though, the props in this movie, my God, they're so cool.

-[Eric] Yeah.

-[Sean] Everything looks functional.

Everything really does look like it's got a purpose

and it just feels right.

[Ashley] I feel like every version of the trap that you can buy as a consumer

has become very expensive.

-[Eric] Yeah.

- The original ones that they made

are, like, collector's items now. They're hard to find, get your hands on.

And now you can get great replicas of them, which are also expensive.

[Chris] You think that's expensive? Try buying a real one.

[Sean] In the TV copy, he says, "What a knockabout, pure fun that was."

I remember seeing that, I was like, "What? No, it's different. Why?"

[Ashley] That's how people talk. Don't you know?

[Sean] I love... And you mentioned in the cut-off version of this,

you can't see Egon throwing...

Throwing Venkman the signs of what to charge, which is a genius piece of acting.

[Ashley] Look at the bellhop in the background

just staring right at the camera.

-[Sean] Egon's got mad game.

-[Chris] Yeah.

-[laughter]

-[Chris] It was...

No, what was the year, '98, when the clamshell VHS came out?

And that was the widescreen. And all of a sudden, a bunch of us went,

-[gasps] "Oh, my."

-[Sean] We were like, "Oh, my God."

[Eric] "There's so much more of this movie to see."

[Troy] Yeah, I do remember, that was a Harold Ramis joke

that he was always cut out of the pan-and-scan version.

[Eric] It's so good. It makes the scene.

[Ashley] Remember when aerobics were a thing?

[Eric] This montage is great, too.

Sean, so the best part about this montage is that they cobbled it together

from stuff that was filmed for other stuff in the movie

-and they went around guerrilla style.

-[Troy] I love this dude.

Show us something of value.

-"Hey, man. Are you making a movie?"

-[Ashley] Oh, hippie Jesus?

[Troy] So, yeah, you look good, buddy.

Look, he's checking himself out on the monitor.

[Chris] One of our guys at the Ghostbusters of British Columbia

cosplays the hippie.

Nobody got it except for us. We were like, "Ha ha ha!"

And he'd walk into people's photos in the background and do the thing.

[Eric] I think Joe Medjuck that was the first shot that they actually shot.

-[Troy] Oh, really?

-[Eric] Yeah.

[Troy] So, that guy was a natural photobomber?

-[Eric] Yeah.

-[Troy] Duck.

Chicken.

Umberto's.

[Sean] I love the repetition of that bell going off. You're like,

"Oh, man. These guys aren't getting a break."

[Ashley] Look at how wide that turn was!

[Troy] There's Michael Gross in the top corner of the Time magazine.

- The associate producer of the film.

-[Chris] He's a new poet, apparently.

[Troy] Yeah.

[Eric] Oh, yeah, Michael Gross.

[Troy] So, it's this shot that--

[Sean] It would be with the security guard.

[Eric] Yeah. So, they've told the story where there's a security guard that was...

Because they were shooting all of this guerrilla style

and there was a security guard

that ended up chasing them out of Rockefeller Center...

-[Sean] I love The Atlantic.

-...and you see that on the trailer.

[Chris] Back at the Biltmore, and then reverse the film now...

[Eric] Yeah.

[Ashley] I hope you guys are learning that all movies are lies.

[Eric] Casey Kasem.

...this time at the fashionable dance club The Rose.

The boys in gray slugged it outwith...

[Eric] "A pretty pesky poltergeist."

[Troy] Casey Kasem's wife appears in the movie later.

[Eric] She does.

[Troy] Or ex-wife, I guess.

[Chris] She's having a glass of wine. He was funny when he was here.

[Eric] Yeah, yeah.

- At first, I thought he was creepy...

-[Chris] Back at the Biltmore.

- That was out in front of the Biltmore.

-[Eric] You were right.

[Chris] There was a lot of extra stuff from the Biltmore.

[Eric] Yeah, there was a lot of stuff that came after the Biltmore

that made its way into this montage here.

[Chris] I still kinda want that TV.

[Sean] I love Ray's reaction. He's like...

[Troy] What is the Ghostbusters' super diet, anybody?

[Chris] Cheez-lts, obviously. Cheez-Its and beer, apparently.

-[Ashley] And marshmallows.

-[Eric] Yeah.

-[Sean] And popcorn.

-[Chris] Chinese food.

[Ashley] Oh, yeah, we saw the two ducks.

[Eric] This is all the Fort Detmerring scene

that was cut from later in the movie that has now made its way into the montage.

[Chris] Or as we like to call it, "the ghost foot rub."

-[Eric] Yes.

- That's what it is, right? Everybody?

-[Eric] That's right.

- We're all in agreement? Excellent.

[Eric] Oh, dear God.

[Chris] Gentlemen, we're all in agreement what the movie is,

but I have one stipulation.

-[Sean] Ernie.

-[Eric] Love how they turn it into a dream

and have him fall out of bed. That's kinda...

-[Troy] Ernie Hudson.

-[Chris] Ernie.

[Troy] The greatest guy.

He is one of the nicest people on the planet.

[Eric] Didn't you build a Pack for him, Sean?

[Sean] We did.

[Chris] Oh, is that his com-pack that he...

-[Sean] Yeah.

-[Chris] Nice.

If there's a steady paycheck in it...

[Sean] He showed up at our shop one day just randomly.

Like, we'd ordered a pizza and we thought it was the pizza arriving,

and then Ernie gets out.

And nobody knows how tall he is,

and he, like, just grew out of this little car,

and we were like, "Okay, well, that is... Okay."

[Eric] Did he bring pizza?

-[Chris] Yeah, that's the important part.

-[Sean] We gave him pizza,

and he hung all day and he was the nicest guy.

[Ashley] I think he's such an asset to this film.

[Eric] He really is.

[Ashley] He grounds so much of the weird reality that they're playing it in,

and I think, sometimes, he's a bit of an unsung hero.

So I'm glad that we all perked up when he came onscreen.

-[Eric] Winston is us, basically.

-[Ashley] Yeah.

[Eric] He's the audience. He's the voice of the audience.

I also love the relationship that he and Ray develop.

That's really cute.

That sort of brotherhood where they're talking in the oar.

[Chris] Well, yeah, Ray kinda has his foot both in Egon's world

and, you know, like the...

the blue-collar world of...

[Eric] Is that Michael Bay?

-[Chris] No.

-[Troy] It's Timothy Carhart.

[Chris] I wanna say, by the way, I didn't realize...

I knew there was trouble with the sound, I didn't realize this was ADR,

'cause it really fits in nicely.

[Eric] Yeah, it's all ADR because the fountain is so loud.

[Troy] So loud they had to rerecord all of this dialogue later.

[Chris] 'Cause you know, bad ADR, it's like...

-[Ashley] It's bad.

- Outside tone, outside tone, outside tone,

now it sounds like you're in a closet.

[Ashley] You can see it's kinda cold there, too,

because you can see their breath every once in a while.

[Eric] They filmed this right before Christmas.

[Chris] Well, this is November.

- This was right before the holidays.

-[Troy] I have got to get that jacket.

-[Eric] Oh, man. I want that jacket, too.

-[Ashley] I want Dana's jacket.

-[Troy] LL Bean, I think.

-[Sean] LL Bean makes it, or it used to?

-[Chris] Yeah, it was an LL Bean.

-[Troy] It was an LL Bean, right? Yeah.

Do you have some information for me, please?

Well, sure, but I'd prefer to give it to you in private.

[Ashley] It's funny. At the Lincoln Center, behind those windows,

there's often some very large Chagalls that are hanging.

-[Eric] Oh, really?

- But you can't see them with the glare.

[Eric] Interesting.

- Hittites.

-Hittites, the Mesopotamians and the Sumerians.

[Sean] You know, it's funny. All the time we've spent costuming and prop building,

how comfortable you get wandering around in a jumpsuit and jump boots.

You forget you're wearing them, and you like, "Oh, right."

[Eric] And then people are shouting at you, "Hey, Ghostbuster!"

-[Sean] Yeah, "Why are these people..."

-"Who you gonna call?"

[Ashley] Yeah, like, "That's my name. Ghostbuster."

[Sean] You know, you might fan a little too hard

when you forget the costume you're wearing.

[Ashley] Yeah.

[Chris] It's one step further when you go to order a coffee

and they're like, "Coming right up, Stuart."

And you're like, "How do you know-- Oh, right.

It's stitched on my... I got you. All right."

[Eric] I always felt like Sigourney Weaver

was legitimately charmed by Bill Murray in this scene.

[Chris] This was their first scene together?

[Eric] They have a great chemistry together.

It's corny but I respect you as an artist.

[Eric] "And as a dresser."

This is a magnificent coordination you have going...

[Sean] He's not wrong. She's got a great turtleneck.

I'll bring The Roylance Guide and we'll eat and read.

[Eric] Roylance Guide is another one we need.

Somebody needs to write that.

[Sean] All right, me and Eric, let's just...

[Eric] Yeah, let's just do it.

-[Chris] Roylance Guide and chill?

-[Eric] Yeah.

He's just a friend.

- A friend?

-An old friend.

[Troy] How many of us that have been to the Lincoln Center

have tried to redo this?

And it's just... It's difficult.

We need Laszlo Kovacs to lens a photo of us to recreate him.

- Spinning around-- Yeah.

-[Eric] With a wide lens from a higher...

A high focal point.

[Troy] It's so hard, and they redesigned the Lincoln Center a little bit,

-so it's tough to replicate it.

-[Eric] That stinks.

-[Sean] Oh, Peter, he's so cute.

-[Ashley] In his jumpsuit.

[Chris] There's the flower, bottom right. I love that graffiti.

-[Troy] The flower. Oh, yeah.

- That's my favorite.

[Sean] Aww. I got room on the back space of my shop wall for one of these.

- Someday.

-[Eric] For a containment unit?

[Troy] I actually have one in my office that a fan from Tampa Bay gave me...

-[Eric] It's gorgeous.

-...after Comic Con.

It's behind my door, too.

So whenever I have meetings, I close my door,

and people are like, "Holy crap, what is that thing?"

[Eric] "That's where we store all our Slimers."

[Ashley] And you tell them that's where

-you're gonna put them if they misbehave.

-[Troy] Exactly.

[Eric] I love, Egon is reading what he's about to tell you

-in the next scene back there.

-[Troy] Oh, don't tell them that.

[Chris] Okay, point of order here. You guys might be able to tell me.

That containment unit basement, isn't that supposed to be part of the LA firehouse?

[Troy] It is. Yeah, that's how...

[Chris] So, how did they do the light through the brick?

-[Troy] That's a fake wall.

-[Eric] That's a fake wall.

They built a matching wall and they blew it up.

[Chris] So, the basement is bigger, then?

-[Troy] No, the basement is that size.

-[Eric] It's just a little bit bigger.

They've got, like, two or three feet off to the side that they've... Yeah.

[Chris] That's crazy.

'Cause I kept looking at those scenes, and I'm like,

"if this is a setup just for the light bricks..."

[Ashley] That was my text alert for quite a while.

[Eric] Oh, William Atherton.

[Chris] Those guys are almost exactly the same height.

- This is even better.

-[Eric] Everyone in this film is giant.

-[Troy] Yeah,

-[Eric] And by the way,

I know that Bill Murray is tall,

like, Sigourney Weaver rises above him a couple of inches.

I mean, she's an Amazon.

[Ashley] She might have heels on as well.

-[Eric] True.

-[Chris] Well, she was a model, right?

[Eric] She's six feet, yeah?

[Troy] I love the Wise potato chips in the background.

[Chris] Yeah, the set dresser shipped in New York chips

-to put on the LA set.

-[Troy] I know.

-It's amazing.

- I love that.

Every frame,

every inch of every frame of this movie is crawling with story points

or something that tells you about the character.

[Chris] We were talking before about the '80s movies and this--

-[Eric] Janine.

-[Troy] Janine.

[Eric] I never noticed her peeking out before.

-[Ashley] She's the best.

-[Eric] So cute.

[Chris] The quality of the '80s movies

was partially because it was a bunch of people...

-[Troy] Hungry?

- Reaching for the... Yeah, the hunger.

Reaching for the moon on not enough budget and just giving it their all.

[Sean] There's something to be said about having an unreasonable deadline

-for producing great work.

-[Chris] Everybody did it.

The guys who animated stuff, the people who dressed the set.

By the way, nerd note. That lamp on his desk

ends up in his apartment in Ghostbusters II. Just, you know...

[Eric] Which one? The gargoyle?

-[Chris] No. It's sitting on his desk.

-[Ashley] It's like a hanging lamp.

- I forget the designer who did it.

-[Sean] The Statue of Liberty lamp?

[Chris] No. No, no.

It's like an art deco-style UFO-looking lamp.

-[Eric] Got you.

-[Chris] It's a couple of shots back.

I should've gotten it in earlier.

[Eric] You know, William Atherton is such a great actor.

I mean, you feel bad, 'cause every interview I've ever heard with him,

he seems like a perfectly lovely man,

but as an actor, he is perfect at playing a jackass.

[Troy] He is always that guy.

[Ashley] He looks like Prince John from Robin Hood.

[Eric] 'Cause I remember even as a kid watching this.

I was, like, 13 when this movie came out.

He made me mad. Like the way he was talking.

I'm like, "Oh, my God." Like...

- He's such a talented actor.

-[Troy] Poor guy.

Why are they smoking when there's highly combustible--

[Ashley] Smoking inside is insane to me now.

...normal amount of psychokinetic energy in the New York area.

[Chris] "Going by my clothes, I am Winston.

I've just been hired 20 minutes ago.

Please explain 'The Big' to me."

[Sean] Here's another T-shirt line.

[coughs]

That's a big Twinkie.

[Chris] "That's a big TWinkie."

We could be on the verge of a fourfold crossrip.

A PKE surge of incredible, even dangerous proportions.

[Eric] How is Egon so skinny with all of the junk that he eats?

[Chris] His brain eats it all up.

[Ashley] He's got a really good metabolism.

[Sean] He only does it on camera.

[Eric] Cheez-Its and Twinkies.

[Chris] That man's brain is burning carbohydrates at a speed--

[Troy] This is so New York.

- I love the matte paintings in this movie.

-[Sean] Oh, look, lightning.

- All right, moving on.

-[Ashley] Yeah, just don't worry about it.

[Troy] Yeah, that's fine.

[Troy] Yeah, that's fine.

[Chris] They always talk like it's...

You know, people, when they make stuff over the time, they're like,

"Oh, that wasn't what we wanted."

It's great. It looks so good.

They're too hard on themselves.

[Sean] Every frame holds up in this movie.

[Chris] Actually, there's some Stay Puft ones that are a little weak later on.

-[Sean] Oh, no.

-[Eric] How dare you. Get out.

[Ashley] Don't you say anything bad about Stay Puft.

[Eric] Get out! I said good day, sir.

[Chris] An apartment building wiggles. Fight me.

[Eric] Change my mind.

Terror Dog.

[Chris] Yeah, Troy, you wanted...

Later on when we see the temple open,

there's a lot of weird overlap of space cues, visually.

-[Troy] Yeah.

- You were kinda wondering why--

[Eric] Rocking that Laura Branigan song from inside Louie's house.

[Ashley] Yeah.

[Chris] How does he do that?

[Sean] He senses her.

[Eric] You know you know somebody that is like this.

[Ashley] Let me tell you something about men...

-[Eric] Yeah. That's how he does that.

-...and their inability to back down.

[Eric] He's waiting at the door for her.

[Troy] Also, I'm so introverted, I've done that Dana Barrett sneak

past some of my neighbors 'cause I just don't want to interact with them.

-[Eric] Oh, yeah, absolutely.

- So...

[Ashley] You know your neighbors?

[Eric] "Hey, George, you're late from work?"

[Troy] They're such an LA thing.

[Chris] Where did we decide she was coming from?

Like, in '84, she was coming from Jazzercise or something?

-[Eric] Yeah.

-[Ashley] Must have been, 'cause she's--

Probably doing the Jane Fonda Workout tape somewhere.

[Ashley] She's got sweatpants on in this one.

[Chris] Yeah, she's got the leggings and the...

-[Eric] I love...

-[Chris] "Somebody let me in!"

...his guests won't let him back into his own house.

[Troy] I love, there's that little... It's a foleyed thing.

You hear them lock the door on him.

- So, they lock him on purpose.

-[Eric] Oh, that's hysterical.

[Ashley] He's that friend that has the best place for an apartment,

always has good food, but you don't really like.

So they leave him out of the house.

[Eric] Dana's apartment must be gorgeous at Christmas.

The Christmas view out of that...

Beautiful.

[Chris] Yeah, that chunk of the Park there.

[Eric] She is rocking that '80s pad, though.

I love the conversation she has with her mother, too.

Like, we've all had this conversation. "I just got home.

-[Chris] "Yes. No. No! Okay."

-[Eric] "I will."

-[Chris] "Bye. Bye!"

-[Eric] "Just that one time."

[Chris] Oh, now I wanna call my mom.

[Eric] "When are you gonna give me a baby? I'm never gonna have any grandchildren."

-[Chris] Those guys on TV.

-"And your father is still angry about..."

You're like, "I'm gonna go."

I have to go. I have a date.

[Chris] No, Tinder hasn't been invented yet.

[Troy] I feel like this is-- this is the creepiest scene.

Even though she's on the phone with her morn,

there's no music...

-[Eric] No, there is.

-[Chris] It's a very, very little bit...

[Troy] Just now, yeah. Just now it kicks in.

[Eric] Elmer Bernstein's "some crap's about to go down" music.

[Troy] It's so unsettling.

[Ashley] Yeah, that good Xylophone track.

[Eric] I love the reveal of that door.

She's doing the most mundane of things on a phone call.

[Chris] They were even hard on themselves about the rolling chair thing.

I'm like, "No. It works."

-[Eric] This is a terrifying scene.

-[Troy] Yeah.

[Sean] And maybe, Eric, I don't know, maybe you can confirm or deny.

I always heard the rumor,

one of the hands that comes up that gets a little too friendly

with Sigourney Weaver,

I heard that was her husband supposedly under there with a glove on.

I don't know if that's another Internet rumor.

[Troy] I don't... I think it is. Because I've heard that she was...

She told the guys that were doing it, "I'm comfortable, just go for it."

And gave them permission to just reach up and go for it and not hesitate.

[Chris] Let's be fair. At a certain point,

they don't exactly know where their hands are anyways.

[Troy] That's true. I don't know if they have video monitors

or how they were doing that.

[Eric] Some of these old legends floating around might just be old legends.

[Chris] I'll tell you they won't have it, because remember,

in, uh, one of the commentaries,

Ivan talked about it, they didn't have the video alley when they shot this.

Ivan talked about it, they didn't have the video alley when they shot this.

[Sean] By the way, can we take a minute and acknowledge that, like,

Sigourney Weaver is scream-queen-level scream.

-[Chris] I agree with that.

- She would, like, literally

give Jamie Lee Curtis a run for her money.

-[Ashley] Yeah, Nova Scotia!

-[Eric] "$24.95 a pound."

It cost me $14.12 after tax, though. I'm giving this whole thing...

[Chris] "You having fun?"

[Eric] I love when the two people show up,

he basically rolls out their tax history at the party.

[Chris] I want that "etc" wall hanging so badly.

[Eric] "A small carpet-cleaning business in receivership.

You're drawing a deferred bonus from two years ago."

[Troy] That's Jean Kasem.

[Chris] I love them because you can tell that the scene's moving

and they've been told, "Do not slow things down."

So, they come through the door with their jackets half off.

[Eric] It's hysterical. Ted and Annette Fleming.

[Chris] Here we go. Watch this.

Fling. Boy, it's just...

[Ashley chuckles]

[Chris] We don't have time for your coats.

Ted and Annette Fleming.

[Ashley] He's very tall.

[Sean] Maybe 'cause he's on receivership.

[Eric] Oh, one of my...

my favorite pieces of set dec is right here.

-[Chris] There he is.

-[Troy] Yeah.

[Chris] You love the picture.

I love the guy next to it eating the chips,

'cause he was the guy that got in the elevator earlier

and we see him talking to the cop later on,

-like he's a consistent neighbor extra.

-[Eric] Oh, yeah. That's true.

- Yeah.

-[Ashley] He's just there for the snacks.

[Chris] He's there for the chips.

At a party so boring, he's reading the back of the chip bag.

[Sean] I love that Jean Kasem drops out the window.

[Eric] Where does she go?

[Sean] I was like, "Did she just drop to her--" Literally.

[Eric] "Louis, I'm going home."

[Ashley] It's good. There's a fire escape.

[Troy] Here comes some great background acting.

[Sean] My wife has expressly told me--

[Chris] Here she comes. [gasps]

[Sean] Literally the first time I ever saw my brother laugh uncontrollably

-is that old lady coming back.

-[Chris] That old lady?

He literally fell on the ground laughing. And he was, like, seven years old

-when he first saw it.

-[Chris] Say, that thing is classic.

[Troy] Oh, it's so good.

[Eric] That is a hell of a drop on the other side of the wall.

[Ashley] Yeah. It is.

[Chris] Okay, so dumb spatial stuff.

They come straight out, he drops over the fence.

Tavern On The Green is to his left.

Now he's on the far side of it running back,

like there's a weird jump in where he's running from.

[Eric] I think he's trying to get away from a Terror Dog.

[Troy] He's running away from a Terror.

[Sean] He really goes over this chair, too.

[Troy] That stop-motion of the Terror Dog is awesome.

[Sean] It's so good.

[Troy] Oh, the birthday party here, that's Debbie Gibson.

-[Sean] Oh, yeah, I heard about that.

- This was her first onscreen role

before she was Debbie Gibson, the pop star.

-[Ashley] Yeah.

-[Eric] Jesus.

[Chris] Her older brother with the red hair, that's Rick Astley.

-[Troy] Is it really?

- No, it's not. I just made that up.

- But it is Debbie.

-[Eric] You just RickRolled us.

-[Troy] On a commentary.

-[Eric] In a Ghostbusters commentary.

[Chris] I don't think it counts unless we have the song.

You can't do that.

[Sean] I love the slow approach of the camera.

[Chris] Those balloons, by the way,

how come nobody makes those swirl balloons anywhere?

-[Ashley] I bet you could get one.

-[Eric] That's so cool.

-[Chris] Can you?

-[Ashley] I bet.

-[Chris] Time to look on the Internet.

-[Eric] Sadly, I love this.

[Troy] Every time I've seen this movie, it always gets a laugh from the crowd.

[Sean] My wife has expressly forbidden me from making a full-size Terror Dog puppet.

[Troy] Do it. I don't want to egg you on, but do it.

- Do it.

-[Sean] You're so not helping.

-[Ashley] That lady's...

-[Chris] There he is again

-talking to the cop on the right.

-[Troy] Oh, yeah.

[Eric] It'd be funny if he still had the bag of chips.

[Chris] Yeah.

And that's why I lost my bag of chips. I mean, it wasn't mine, it was Louis'.

[Troy] So the doorman here is a different--

If you watch the doorman, he's two different people

because they had to film part of this on the Columbia Ranch in LA

and part of it in New York City at 55 Central Park West,

and they had to get two different guys to play the doorman.

[Chris] To be fair, unless you've watched it 57 times,

and that's an exact number,

-you don't really notice it.

-[Eric] Which we all have.

If you're listening to the fan commentary track on this--

[Ashley] Can you not believe that the studio

didn't wanna bring out someone just to play the doorman?

[Eric] Can't we assume there's multiple doormen that work in any given building?

-[Troy] This is true.

-[Chris] "Hello, Central Casting?

No, not another librarian. We need a doorman."

[Troy] Although I will say, if you visit 55 Central Park West,

the doormen are amazing,

'cause they know that it's the Ghostbusters building,

so they will ham it up for your camera,

they will let you take as many pictures as you want.

[Ashley] That's so sweet.

[Chris] It's sort of like the firemen at Hook and Ladder there.

If you go to the door and they're not busy,

if you knock and you're polite, they'll let you in, you can have a look.

Nobody there was there when the--

[Sean] They made us lunch when we brought the car there.

-[Chris] No!

-[Troy] You're kidding.

[Sean] They have the biggest cast-iron griddle I've seen

that took up the whole back wall of one of them

with a pile of potatoes that you could've climbed up with a Sherpa.

- It was insane.

-[Chris] That's just firemen showing off.

[Sean] No, those guys were carbo-loading.

They came back after a call. It was insane.

-[Chris] Wow.

-[Sean] Yeah.

[Eric stammers]

Dana's outfit is such a great go-to con costume for people.

-[Ashley] Yeah.

-[Eric] It's so good.

[Ashley] Her makeup and the changes to the way they paint her face in this scene

-are really incredible.

-[Eric] Yeah.

[Chris] It makes her glow when you can't--

There's no special effect to make her glow.

-[Troy] Yeah.

-[Chris] The makeup makes her glow.

- She has a sheen.

-[Ashley] You can see the bronzer--

-[Sean] I was gonna say there's a bronzer.

-[Ashley] How it's reflected.

- And the way they lit it is awesome.

- The highlight, I guess,

is what that is that I'm speaking about.

[Sean] The makeup is almost vaguely reminiscent

of the Japanese demonic masks and stuff.

-[Ashley] Yes. Yeah. Yeah.

-[Troy] Oh, yeah.

-[Ashley] The Oni masks.

-[Sean] Yeah.

[Chris] Is that just the mattress? I never noticed that.

[Ashley] What does that tell us about Dana?

[Eric] No.

Ashley, to your point earlier, I liked that this for Venkman's arc

from where you see him doing the Zener experiment.

So now he's approaching this from a scientific point of view.

He's trying to figure out what happened to Dana.

[Ashley] He's also empathetic to her here. He cares about what's happening.

[Chris] And he's being a decent human being. She's calling his bluff.

It's like, "Here you go. Isn't that what you wanted? No? Come on."

[Eric] He's being a decent human being, but he brought Thorazine.

-[Sean] It is a great sort of...

-[Ashley laughs]

[Ashley stammers]

We'll give him a six out of ten. He's being an okay human being.

[Eric] This is Ivan doing the demon voice, right?

[Chris] I said he was being a decent human being.

I didn't say he was being a great human being.

-[Troy] Allegedly, yes.

-[Eric] That's so cool.

[Troy] I believe so.

[Eric] She looks terrifying there.

-[Troy] Oh, there you--

-[Eric] Yeah, now that's creepy.

-[Troy] Yeah, that's definitely him.

-[Sean] That's another T-shirt.

[Chris] I hear Ivan Reitman does that at the drop of a hat.

- So if you see him, ask him to do it.

-[Eric] Ask him to do it. Yeah.

[Sean] Just come up to him at a restaurant.

- I'm sure he won't mind.

-[Ashley] Just stop him on the street

with a ham sandwich and ask him to do it.

[Eric stammers] She's amazing.

[Chris] This little practical stunt is amazing, actually.

-[Eric] Yeah.

-[Troy] It's really great.

That's Chuck Gaspar, the SFX, special effects guy.

They put her in a fiberglass bodysuit and lifted her.

[Chris] Yeah, and the lifting mechanism is hiding behind the curtains there.

-[Ashley] Oh, really?

-[Chris] Yeah.

The pole is attached from her waist to the mechanism and the thing,

but you can't see it 'cause of where they put the camera

and her dress falls.

[Sean] This turn, this was a pretty amazing physical effect...

-[Chris] It is.

-...and the back of her dress

-covering up what's behind her as well--

-[Ashley] It's so genius.

[Sean] It's really great.

[Chris] Yeah. You'll notice here when she growls,

her lower legs move.

-[Eric] But her torso--

-[Chris] Her middle body doesn't really,

'cause she's literally strapped into this thing.

[Eric] This scene, I jumped out of my seat in the theater...

[Ashley] They're like, "Don't eat before we shoot."

-...when she does that growl.

-[Chris] Yeah, same here.

[Eric] I was like, "Whoa."

-[Ashley] Oh, sure, sure. Yeah.

-[Troy] "Please come down."

Please come down.

-[Weaver growls]

-[laughter]

[Chris] Now consistent space, he's, uh, he's running south.

[Troy] So he's at Columbus Circle here.

[Chris] Which is right on the corner, 55 Central Park West.

[Ashley] This one guy's really enjoying the Jamaican drums.

[Sean] Supposedly the guy driving the horse

was a really nervous comedian and kept blowing his lines.

-[Chris] Danny Stone.

-[Eric] Danny Stone.

[Chris] He was a good comedian there in the '80s and '90s.

[Troy] Funny enough, was the voice of Miller beer for the longest time.

"It's Miller time!" at the end of the movie.

[Chris] I'm Canadian, so we didn't get a lot of those commercials.

-[Troy] Molson?

-[Ashley] Yeah.

[Chris] This is a good T-shirt line.

[Eric] "Wait for the sign. Then all prisoners will be released."

All prisoners will be released.

What about when he kicks the old lady-- the homeless lady's stuff.

-[Ashley] That's such good--

-[Eric] Those little parts.

[Chris] That guy's so nervous and he got one of the best lines.

[Eric] This is great.

- Dropping off or picking up?

-Dropping off.

[Eric] What I love the most about that line

is that she's worked with these boys long enough

that she's like, "Oh, God. What? What?"

[Troy] Like she knew it was only a matter of time.

-[Eric laughs] Yeah.

- Yeah.

[Ashley] I also love that Janine behaves the way

anyone who's ever worked as a receptionist, uh, actually feels.

- She's very honest.

-[Eric] Yeah.

[Chris] Is that wino on the right...

a real New York wino, or...

[Troy] That's actually the guy from the party with the chips.

He's back and...

[Chris] I like that Egon actually leans in to look at the PKE meter.

Like, "Well, it's never done that before."

[Sean] Like, "I don't think he's human."

[Eric] That colander is so good.

[Sean] Another con staple for the costumes.

-[Eric] Yeah.

-[Troy] Absolutely.

The Vinz Clortho...

Vinz Clortho, Keymaster of Gozer.

Well, according to this, his name's Louis Tully.

Lives on Central Park West.

[Ashley] How rich must he be?

- Do I?

-Yes, have some.

Yes, have some.

-[Troy] Another great fan podcast.

-[Eric] I love Janine.

[Troy] Yeah, another good podcast.

[Chris] Shout-out to Crabigail. And Jacob.

...he will come in one of the pre-chosen forms.

During the rectification of the Vuldronaii...

[Eric] This is another one of those rants, right, Sean, that's kind of...

Where you put him and Dan Aykroyd at each other

and you wanna have them do...

-[Sean] This has gotta be Aykroyd.

-[Eric] ...a technical jargon-off. Yeah.

[Ashley] A jargon-off!

[Sean] Like, what was the third rectification of the Vuldronaii, anyway?

[Chris] Well, Ray just-- Not Ray, but Dan had a thing for lists

and Rick was a DJ.

- He could just literally talk--

-[Sean] Yeah.

-[Chris] No dead air forever.

-[Troy] Yeah, makes sense.

[Ashley] Yeah. There's the popcorn.

[Sean] I see the resistor for the ghost trap on the front of that colander.

[Chris] Was it you, Troy, who was asking is she actually psychic?

'Cause she did call it.

Something terrible was gonna happen to them.

[Troy] Yeah, and she does call it her psychic powers,

but that never comes back in the second movie.

[Ashley] God, that'd be so great if we learn that she's deeply psychic.

[Troy] Yeah.

[Chris] I'd take a show where she's just mildly psychic, frankly.

-[Ashley] Just call it Mildly Psychic.

-[Eric] Yeah.

That's her niece?

[Troy] That's Sigourney Weaver's real sister.

[Ashley] Janine knows about half of the Lotto numbers.

-[Chris] Sister or niece?

-[Troy] Or maybe it's her niece.

[Chris] I always thought it was her niece. I could be wrong.

[Sean] All right, here we go.

I just whacked her up with about 30000's of Thorazine.

-[Eric] I have questions.

-[Troy] We have questions.

[Eric] This is the subject of much debate for fans.

- And I don't-- Do we--

-[Chris] Well, Thorazine...

[Sean] I love the Bunsen burner under the coffee pot.

And second, I love that it's boiling and he's drinking it.

[Troy] There's racquetball articles on the wall back there, by the way.

[Chris] Thorazine's an anti-psychotic. It kinda makes sense

that if somebody's having some sort of paranormal freak-out,

you hit them with it.

[Ashley] Yeah, and we're meant to be on his side

because we know that this is an altruistic move that's done for her safety.

-[Chris] Well, no, here's the thing.

-[Ashley] However--

[Chris] Exactly. Why does he have it on a date, and two,

300 cc's is way too much of anything.

[Eric] It's a lot.

[Troy] Does Venkman know how to party or what?

-[Ashley] Then he kisses her.

-[Chris] To be honest, though,

I attribute that to Dan,

-'cause it's very medically jargon-y.

-[Sean] It's very precise.

[Chris] But you notice throughout the movie,

he also kinda gets a lot of numbers just slightly off.

[Sean] Yeah.

[Chris] Thorazine! 300 cc's. That's wrong.

[Ashley] Well, perhaps in this universe you need 300 cc's.

[Chris] What do you mean, in this-- Isn't this our universe?

[Ashley] Is it?

[Chris] Are you saying it's not?

- A discussion has to take place right now.

-[Ashley] Right now.

[Sean] It's funny, this shot makes the interior of the Ecto look tiny.

-It's huge.

-[Eric] No, it's huge. Yeah.

[Chris] It kinda- Well, 'cause it looks like it's blocked off--

-[Ashley] It's filled with goods.

-[Sean] Big 0l' bench seat.

It looks like they're squeezed over almost to the middle.

[Troy] I think this is probably poor man's process,

that they're on a sound stage with duvetyn all around them. So it's not--

-[Eric] Someone's shaking the car.

- Shaking the car with a light on a C-stand

that's just circulating around.

[Chris] Also looks like their windows are down.

[Troy] Yeah.

[Ashley] Well, he's smoking--

[Sean] And it's really, really quiet in there.

-[Chris] Well, this is '84. This is '84.

- Cylinder engines, like [imitates rumble].

[Chris] People didn't roll down the windows to smoke in a car.

- Yeah.

-[Eric] It's the '80s. You don't have to.

[Troy] So fans probably know they're on their way

to Fort Detmerring, the deleted scene...

[Eric] Yeah, the deleted scene.

[Troy] ...that shows up in the montage.

And they've sort of cheated it now so that this is them returning home.

[Eric] I love that creepy Bernstein score coming in

when they start to talk about Judgment Day.

[Ashley] Can we just take a moment to appreciate how good Winston's teeth are?

- Perfectly shaped, proportioned teeth.

-[Sean] He's a perfect man.

[Ashley] He is the perfect man. Well said.

[Chris] There's no reason to dance around it. He's a handsome man.

-[Eric] He is.

-[Chris] Let's just say it.

[Ashley] I had extensive dental work, so people's teeth always stand out to me.

-[Eric] I love this low-angle shot.

-[Chris] Yeah.

Low-angle and slightly off-kilt.

-[Eric] It's so beautifully--

-[Ashley] That's how you know

-business is about to go down.

-[Eric] Could see a storyboard of that.

-[Troy] Laszlo Kovacs. So good.

-[Chris] This was my part.

I am done now. Thank you.

[Eric] I had to look up what "seizure of premises and chattel" meant,

'cause I always thought...

He said, "And cattle." I had to look it up.

-[Troy] And cattle.

-[Chris] Chattel. Yeah, it's--

[Eric] Basically taking everything in the place.

[Troy] For the longest time I thought she said, "In shackles."

-[Eric] Yeah.

- I was like, "What are the shackles?"

[Ashley] Every female who grew up in the '80s or '90s

wore a version of Janine's outfit in this scene for school pictures.

[Chris] Probably, yes.

Excuse me! Just where do you think you're going?

Step aside.

Real cop-turned-actor. Just like there's a real fireman-turned-actor later on.

I've seen TV.

-[Ashley] "I've seen TV."

-[Eric] It was actually an NYPD officer.

[Sean] I love those columns.

[Chris] What were they, like, heating...

-[Sean] Thought they were really ornate.

-...vents or something from the boiler?

Or just really ornate columns?

[Ashley] The Con Edison extra doesn't know where to look.

-[Chris] Load-bearing.

-[Sean] Cast-iron.

- Really? Yeah, that'll hold it up.

- I believe so.

-[Troy] Keep your eye on Rick Moranis...

-[Sean] Looks like my garage.

-...and don't look away from him.

-[Chris] Yes.

[Troy] Rick Moranis puts on an acting clinic for the next--

-[Eric] I love when he's pointing at him.

-[Troy] Yeah. It's so good.

[Eric] Watch right here.

[Chris] Six people in the scene.

Every single one of them has a line except for him.

- And he runs away with it.

-[Eric] He steals the entire scene.

[Chris] Hold it up here.

[Eric] It's so good.

-[Chris] Well, this is not good.

-[Eric] He's like, "Uh-oh."

[laughter]

-[Troy] He's, like, laughing there.

-[Eric] He's so good.

Look at Janine, stone-faced behind--

They're all blocking it. She's so funny.

I'm Peter Venkman. I think there's just been a slight misunderstanding

and I wanna cooperate in any way that I can.

Forget it, Venkman! You had your chance...

[Troy] That's Joe Cirillo, is the cop's name there.

-[Eric] He's amazing.

-[Chris] Thank you.

[Ashley] He looks like he walked off the set of a mafia movie.

[Chris] Funny enough--

[Troy] Yeah, funny enough, that was his first film.

-[Ashley] Oh, well.

-[Troy] A very popular mafia film.

Don't shut it off. I'm warning you.

[Eric] Why is Walter Peck so hell-bent on shutting down the containment unit?

[Sean] 'Cause Venkman embarrassed him.

[Ashley] He wanted to be that action figure.

[Eric] If he's there to seize the premises and shut down their business,

-why is the containment unit his first--

-[Sean] He's being a mean person.

[Chris] Remember, he also thinks they're con men.

[Ashley] There's a lot of venting in this scene.

[Chris] Turning stuff off will have no effect 'cause he's just...

[Troy] He looks like Ray Romano's little brother.

[Ashley] Yes. Brad Garrett is the actor.

[Chris] He's just powering down a business,

so the computers don't run, the lights aren't on.

As far as he's concerned, they're con men,

so that thing built into the wall is just a con.

Why not turn it off?

[Eric] During a federal raid,

don't they go in and take all the files and all the equipment and like--

[Ashley] Yeah. All your records. Yeah.

[Eric] Why this? Why is this the first step?

[Chris] Now you're overthinking it.

-[Eric] Again, a fan commentary--

-[Chris] I was gonna say...

I say in a very hypocritical fashion, now you're overthinking it.

[Sean] Louis is delighted.

[Ashley] Which brick do you think is gonna come off?

-[Chris] That is amazing, by the way.

-[Troy] It is.

[Chris] I thought that was-- They built a duplicate. I really did.

Last man out the door. Just as the thing goes off, that's brave.

[Ashley] They probably were all instructed to run naturally.

That's what we got for Rick Moranis.

[Eric] I love that effect. That's so cool.

[Chris] Now, you're...

You brought up this. Is it ash or what?

I thought, yes, it mostly looks like it's just ectoplasm going through it,

-but it cracked the ceiling, too.

-[Troy] I know.

[Eric] So you've got ash and the debris, but then it looks like it's raining,

so I can't figure out if it's ectoplasm that's falling down on them

or if that's the NYPD trying to put out the flames

and they're not being successful.

[Troy] I think in that original making of Ghostbusters,

they said it was ectoplasm.

-[Eric] It's ectoplasm?

-[Sean] There's the Ecto again.

Propeller rays propelling.

[Troy] Or at least it was meant to be ectoplasm.

[Eric] When you watch the big disaster movies...

-[Troy] He's just wandering away.

-...and there's always

the giant fire trucks that are trying to put everything out and everybody's--

Yeah, see, look. They're getting hit by rain or something.

[Troy] Okay, can we all talk about how fun it is to see Egon get angry?

[Ashley] Yes.

-[Eric] Language.

-[Troy] Yeah.

Hold it! I want this man arrested.

[Chris] I like to think it's because he's the guy

that's holding the whole picture in his head.

[Eric] Yeah.

[Sean] That dude just destroyed their entire business.

-[Chris] Destroyed the business.

-[Sean] Destroyed their livelihood.

-[Chris] Here's the thing.

-[Eric] He was a jackass.

[Troy] Stay-Puft marshmallows, by the way.

[Sean] I know. That's so great.

[Chris] When they're explaining that he shut off the protection grid,

Dan gets it or Ray gets it that it's not good.

But Egan's holding a lot in his head that this is not good.

- Plus there's the weirdness--

-[Eric] He's doing math.

He's like, "ECD. Your mother."

That's how he gets.

[Chris] What we saw was "anxiety Egon".

[Eric] Yeah. He gets to...

-flipping out in six easy steps.

-[Ashley] Her makeup's been retouched.

[Eric] Maybe fellow fans will be with me here on this one,

but the "Magic" track by Mick Smiley

I thought was the wrong song on the cassette tape

because it starts out so different.

-[Sean] It does, yeah.

-[Chris] It starts out, "Daddy..."

[Eric] Yeah. And I would always fast-forward to him.

- Like, this isn't in the movie.

-[Troy] I love this creepy cab driver.

-[Chris] And then he gets to the cool bit.

-[Troy] One of Wrightson's best designs.

[Eric] This is a Steve Johnson monster, isn't it?

[Chris] Designed by Bernie Wrightson. Yeah.

-[Troy] And Steve Johnson.

-It's a good combo. Let's put it that way.

- Bad things creep me out, too.

-[Eric] Oh, that poor tree!

Like, optical-effect light monsters are-- are scary,

but a physical, tangible, rotting zombie--

[Eric] Yay!

-[Ashley] I love...

- Hey, buddy!

-[Chris] I've escaped!

-[Eric] Eat those hot dogs.

[Ashley] How long has she been walking from her bedroom?

[Sean] She's savoring the show outside the window.

[Troy] Yeah.

[Chris] What I like in the Mick Smiley track is that little bit of backwards.

-[Eric] Yeah.

-[Troy] Yeah.

[Chris] That really makes it sound creepy.

-[Troy] Look at her view of Central Park.

-[Chris] I know.

-It's good to be a cellist.

-[Eric] That is a hell of a view.

-[Ashley] Gorgeous. In the fall, too.

-[Eric] Again.

[Sean] I'm in the wrong line of work. I should be a cellist.

-[Eric] What are we doing with our lives?

-[Ashley laughs]

[Chris] That was a beautiful cut, by the way.

They blow into her apartment and then cut to Louis

-and the pigeons are scattering like--

-[Eric] Yeah.

[Chris] Halfway across the city, the pigeons go...

[Troy] So the production shot this in a real working jail in New York City.

-[Eric] Yeah, I heard of this.

-[Chris] Isn't it in the basement

-of City Hall or something?

-[Eric] Kind of a difficult shot.

[Ashley] Look at that extra in the background pretending to smoke.

It's so good.

-[Eric] Yeah, it's pretty good.

-[Ashley] Maybe it's real.

-[Chris] It's '84. They're all smoking.

-[Troy] It's a theater cigarette.

[Sean] By the way, how'd they get those blueprints in jail?

[Eric] They let you take anything into jail.

[Ashley] Someone had it down their pants.

[Chris] That's what jumpsuits are good for.

Remember, Ray had them last.

He probably had them tucked in his uniform.

[Ashley] Oh, yeah. Lots of pockets.

Ray. . -

[Chris] Ray.

...for a moment, pretend that I don't know anything...

[Troy] I think-- So they shot this all in a real, working jail

and it was a really difficult shoot, because, obviously, it's a jail

and then there were scratches on the film when they took all of the film...

for processing and they were able to have--

Sheldon Kahn, the editor, was able to cut around all the scratches

so they didn't have to go back and reshoot it.

-[Eric] Yeah, I heard about that.

-[Ashley] Wow.

Shout out to editors, the unsung heroes of filmmaking.

[Troy] Shelly is actually still one of lvan's good friends

and has cut a lot of his movies.

Up until Draft Day, I think, in 2014, was the last one.

-[Eric] Really? WOW!

-[Troy] Yeah.

[Ashley] WOW!

[Chris] So what we're saying is that this was a ghost

that wanted to edit the movie

and just, "Cut here. Cut here. Cut here."

[Troy] I think Dan or maybe Michael Gross, somebody did say that they had the feeling

that this jail had some paranormal activity around it.

-[Eric] Wouldn't surprise me at all.

-[Troy] Yeah.

He was also a doctor.

[Eric] I like the pause. He looks around at everybody.

[Troy] Yeah.

- Egon's really enjoying this.

-[Chris] Yeah.

Egan's having a mad-scientist gossip moment.

-[Eric] Yeah, it's great.

-"Let me tell you about this guy.

We all talk about him behind his back."

After the First World War,

Shandor decided that society was too sick to survive.

-[Troy] Everybody listening?

-[Eric] Yeah.

- You hear me?

- This is what has the fellow inmates--

-[Ashley] You follow? You follow?

-[Eric] Keep going.

[Eric] I love that everyone's coming in to listen, though. That's what's funny.

...end of the world. And now it looks like...

[Chris] One of the guys go, "Were you saying something about tungsten alloy?"

So be good, for goodness sake.

[Eric] "Whoa!"

- Somebody's coming!

-We have to get out of here.

[Troy] He's doing his lounge lizard act.

Hold it!

Now are we actually going to go before a federal judge

and say that some moldy Babylonian god

is going to drop in on Central Park West and start tearing up the city?

Sumerian, not Babylonian.

[laughter]

[Sean] Mesopotamian. Phoenician.

[Chris] Yeah, the funny part is, earlier on--

[Eric, Sean] "Welcome to the party, pal."

[Chris] Venkman's trying to read...

to Dana, and can't remember half the ancient civilization names, but she can.

-[Eric] No, he can't read his writing.

- And Egon...

Egon not only knows the names,

-he knows what order they're in.

-[Eric] Hittites.

Mesopotamians and Sumerians.

[Sean] Hey, look at that A6 tank on his back.

- A firefighter with an Ecto bottle.

-[Troy] I've never noticed that before.

-[Sean] Looks a little big, but still.

-[Eric] That's funny.

-[Chris] One perfect shot.

-[Eric] That's amazing.

She's gonna have some reno costs.

[Ashley] She's so lucky

-that that chair was preserved.

-[Eric] Just a few.

I am the Keymaster!

I hope she contacted the super about remodeling.

[Chris] "I am the Keymaster. I think I'm locked out of my apartment."

[Ashley] "I'm still wearing my sweat pants."

-[Chris] Although funnily-- Of course.

-[Troy] Actually--

For a guy that keeps the door closed behind him and he's bumping into it,

he walks up to this door and it flies open for him.

-[Troy] Yeah. Automatic.

-[Sean] He's got special powers now.

[Troy] Louis getting what he wants now.

[Eric] I love that she dips him. It's so funny.

[Ashley] Nice little paradigm shift there.

[Eric] There's that deleted scene where, after everything happens,

and he wakes up and he looks at her and he goes, "Did we?"

- And she goes, "No, Louis."

-[Troy] "No, Louis. No."

[Sean] That framing is awesome.

[Chris] "Now come with me and I'll show you my apartment.

-It's gone from 750 square feet--"

-[Sean] There's something very...

- Very Tim Burton-y about this scene.

-[Eric] Yeah.

[Chris] That's right, actually, yeah. Kind of...

- Black-and-whitey.

-[Ashley] German expressionist. Yeah.

[Troy] So, Ashley, here's your first glimpse coming up here

that they shot in November of '83.

See, it's September to November, so this is--

-[Eric] Oh, yeah_

-[Ashley] There you go.

[Troy] Yeah.

[Eric] I love this scene.

[Chris] Gentleman on the right is an actual firefighter

and he got cut out of it, but he showed up in--

[Troy] Ghostbusters II.

[Chris] Ghostbusters II as the same role, actually.

[Troy] Yeah.

[Chris] Talking about magic and people going above and beyond,

the-- the mayor's desk, he's got the plaque that reads--

For a movie that's, "I ain't afraid of no ghost,"

he's got a plaque that reads, "Be not afraid."

-[Eric] Oh, that's wonderful.

-[Ashley] Nice.

[Chris] Like I said, everybody on this movie just loved it.

They put their all into it in a very short period of time.

[Ashley] "They caused an explosion."

[Sean] Here we go.

Yes, it's true. This man has no dick.

Another T-shirt line.

[Eric] Poor William Atherton.

-[laughter]

-[Eric] Hey, hey, hey, hey, hey!

-[Chris] You like the same noises I do.

-[Eric] He's talking about

how he's had to live with that.

[Chris] There it is. "Be not afraid."

[Troy] Oh, yeah.

[Ashley] That's a good text alert if someone wants to isolate it.

[Eric] One of my favorite bits of acting is when he slaps the priest on the face.

"How are you, Mike?"

[Chris] Lenny.

-[Eric] Again, smacks in the face.

-[Troy] I love that dude.

- People hitting each other in the face.

-[Eric] Yeah.

-"Oh, Your Eminence."

-[Troy] There he is.

[Eric] Venkman's impressed.

[Chris] They were all, "I know you're all weirded out.

- This is nothing."

-[Eric] "How are you, Lenny?"

How are you, Lenny?

You're looking good, Mike.

-[Eric laughs]

-[Troy] Another smack to the face. Yeah.

[Eric] Like they grew up in the neighborhood together.

[Chris] Remember, Troy, I was telling you about I have a list of names

I use for online gaming, depending on the game?

-[Troy] Yeah.

-[Chris] One of them is Cardinal Mike.

-[Troy] That's funny.

-[Eric] Cardinal Mike.

[Chris] I don't think, technically, he's a cardinal.

[Eric] Could they have possibly cast a better person as a cardinal?

I mean, he looks like the Catholic Church just spit him out.

[Charlie] "Hello, Central Casting?

- No, not a librarian."

-[Eric] "We need a priest.

No, not that kind of priest. A good one."

[Charlie] "An old one. A serious-looking one."

[Ashley] "Who's willing to wear a dress."

These things are real.

Since I joined these men, I have seen shit that'll turn you white.

[Troy] I love John Ring, the fire marshal's reaction there.

[Eric] I know.

...this city is headed for a disaster of biblical proportions.

I love that framing of all four of them, too, in the shot. That's so nice.

[Ashley] Would he mean biblical

-in front of the priest?

-[Eric] No, step forward.

[Troy] Yeah. I was gonna say they just were speaking biblical...

Rivers and seas boiling!

Forty years of darkness! Earthquakes! Volcanoes!

The dead rising from the grave!

Human sacrifice, dogs and cats living together...

[Chris] "Mass hysteria!"

I get the point!

[Eric] Is that the most quoted line? 'Cause that's one that everybody knows.

Even people that are casually familiar with the movie.

-[Sean] I saw that one a lot.

-[Troy] Yeah.

Sports analysts and all sorts of people bring that one line up.

[Eric] This next line of Peter's, it shows what a genius he is.

You will have saved the lives of millions of registered voters.

[Chris] And he thinks about it, and a smile.

[Eric] Two, three, four.

[all] Yeah!

[Eric] And the Church likes that.

Watch Bill Murray's eyes.

[Chris] "Of course I'm serious. You're Federal. Get out."

- This is a municipal decision. Get out.

-[Eric] Yeah.

Get him out...

[Eric] Go home and get your shine box.

Off you go.

[Chris] "I'm gonna miss him.

I'm gonna get you a nice fruit... I'm gonna miss him."

[Troy] I love that we've just started resorting to quoting the movie

because we know the words.

[Chris] That was the deputy mayor's office?

-[Troy] I think so, because--

- It's like near corner in the building

from the real mayor's office.

-[Troy] Yeah, they filmed in City Hall.

-[Eric] It's their war room.

-[Chris] Is it?

-[Eric] Maybe.

[Troy] And then this is a loading dock that's across the street from City Hall,

because City Hall doesn't actually have this kind of--

[Sean] Every time we get in the Ecto, we do yell that.

-[Chris] Data.

-[Sean] You kinda have to.

[Troy] I recently saw this scene with the temp score from Stripes.

[Sean] That is a beautiful ship.

- Look at that car.

-[Chris] Yeah.

[Troy] You can totally-- Yeah. You can feel that--

[Sean] I should see if we can get an army escort next time.

[Chris] I like that the army truck nearly flattens that cop extra.

I think there were supposed to be real cops hired, aren't they?

[Troy] Maybe. It was there. Yeah. They're on-set, uh, police.

[Chris] Punks. There he is!

- Red-headed guy. Eldo Ray Estes.

-[Eric] Yeah.

Ghostbusters. All right.

[Chris] One of those extras that stands out so much,

you kinda unfortunately have to ADR him.

-[Troy] Yeah.

-[Chris] Which is what they did.

[Eric] This version of Alessi's "Savin' the Day"

is one that fans have always wanted forever,

because it's got a different instrumentation

and a different vocalization

and then when you listen to it on the soundtrack album,

it's a different version, so Alessi released an album called

Every Version There Ever Was Or Will Be and it has all the different--

[Ashley] Because there were too many extras.

[Chris] They were sort of like, "Here. Take 'em. You handle it. We're done."

All right, Troy.

Now you gotta play "What's LA, What's New York" for us.

-[Troy] Okay, so--

-[Chris] New York.

-[Troy] That's New York.

-[Chris, Eric] New York.

[Troy] I think it's all New York until the earthquake.

Because all of the stuff at the Columbia Ranch where they had the hydraulics--

-[Chris] There's Eldo again.

-[Eric, Ashley] Yeah.

[Chris] They had to do the "Ghostbusters, all right!"

-[Sean] Look at that.

-[Troy] Look at those Packs.

-[Ashley] He looks like Archie Andrews.

-[Sean] Pretty maids all in a row.

Okay, whatever happens, let's be professional.

[Chris] "Gentlemen. Gentlemen. Gentlemen."

[Eric] "How are ya? How are ya?"

[Troy] Such a great Dan Aykroyd thing.

[Chris]
Yeah. Well, his love for guys in uniform.

[Troy] Still in New York. Still in New York.

[Sean] Yeah, this street cracking scene is pretty impressive.

Honestly, it's amazing.

[Chris] You know, I will always prefer cloud tank stuff

-over the procedurally generated stuff.

-[Sean] I know. It's amazing.

-[Chris] It's just so organic.

-[Sean] Incredible.

We might have to put a little overtime in on this one!

-[Troy] And now we're in Los Angeles.

-[Eric] Yeah.

-[Troy] On the Columbia Ranch backlot.

-[Ashley] This is so cool.

[Chris] That's New York 'cause it's got trees behind it.

-[Troy] Wearing foam stunt Packs because--

-[Sean] Yes, they are. [chuckles]

[Chris] But it's amazing back and forth, right?

The piston-driven stuff, that's LA, then they flip the camera around

and the guys pretend to fall. That's New York.

[Sean] It's bad when you remember the sound effects in the movie.

[Ashley] Is it bad, or is it so, so good?

[Sean] It might be both. Pride-shame?

[Troy] I love the hydraulics on this thing on the left here.

- How it bounces.

-[Chris] Wobble, wobble.

[Troy] Yeah.

- That's such a great...

-[Eric] 41st Precinct.

[Troy] Between that and the bouncing boulders, I love that.

-[Eric] I know.

-[Chris] Is that LA there?

[Troy] As soon as the street is torn-- They did tear up some of the street

-on location in New York City.

-[Chris] Yeah.

[Eric] My God, they actually let them tear up some of the street.

[Chris] I think it was more like they set on top of it.

[Troy] Joe Medjuck tells the story that they were shooting that morning

and someone came up to him 'cause the traffic was so bad and said,

"Did you see that accident? There's a car underneath the road

down the street." He's like, "Yeah."

[Chris] "What are you guys doing?" "Oh, we're shooting a movie."

"I don't think you're gonna get to it. There was a horrible accident."

[Troy] Oh, man. The amazing thing-- They shot all this,

and, of course, New York City being as busy as it is,

they had to shut down the streets and back up traffic

and had to clear out by whatever time it was,

10:00 in the morning.

[Eric] Can you imagine them doing that today?

- Oh, my God.

-[Troy] No way.

-[Chris] You'd never get it done.

-[Ashley] No, you'd shoot it in Chicago.

[Eric] You might get it done, but I can't even imagine the production costs.

[Troy] It would cost a pretty penny.

[Sean] Hero Packs.

[Eric] So here was the TV edit. There was a commercial break right...

-[Chris] There.

-[Eric] Here.

So they have all this energy and they're heroes

and everything is awesome and then they cut to a commercial

and then you come back from the commercial on the TV edit

and here they were on the stairwell.

[Troy] About the same amount of time they were walking up that flight of stairs.

-[Ashley] Yeah, it's really--

-[Chris] If you look...

right by Ray's head, you see those two blocks.

The top one is actually matted in.

[Troy] That's where the matte painting starts.

[Chris] The stairwell is actually more rectangular up rather than square.

[Troy] And as Chris mentioned earlier, that's the Biltmore Hotel in Los Angeles.

-[Eric] That's cool.

-[Troy] Yeah.

I'm gonna talk a little bit about this amazing rooftop set.

-[Eric] Oh, man, stage 16.

-[Troy] The 411 on this.

- This was--

-[Eric] Largest ever built at the time?

[Troy] The largest ever built.

And I'm sure in the production talk about this quite a bit,

but the lighting was shutting down the power

because they were drawing so much for the lights on the stage.

[Eric laughs] That's awesome.

[Troy] Ivan mentioned once that for one of the wide shots,

they actually opened the big elephant doors of the stage

and brought the camera outside 'cause it needed to be

-shot outside to get it all in.

-[Chris, Ashley] Wow.

[Ashley] Anyone getting a tour was happy that day.

[Chris] The bit they're standing on is, like, two stories up already.

[Troy] Yeah. They're up on a steel deck that's elevated.

[Chris] Egon's brain multi-tasking so hard.

[Sean] I know.

Sweet design. I like it.

[Ashley] There's some very heavy gears turning in there.

[Eric] Can we nerd out for a second about-- I've always wondered,

the Terror Dogs have tangible form, then they possess Dana and Louis.

Oh, I love that piano, by the way.

Then they have to turn back into dogs.

Why is that? They start out as dogs, they possess the humans,

-then they turn back into dogs.

-[Sean] Because it's cool?

[Ashley] Because they spent a lot of money on--

- I like your...

-[Chris] Hang on.

So we're all focusing on the center. If you watch the bottom right,

the balcony across the way, you'll see little people move.

Here they are, on their balcony. See?

That's the Boss Studio people.

They secretly snuck themselves in across the way.

-[Troy] The special effects guys.

-[Ashley] Oh, nice.

- Yeah, they're on the matte painting.

-[Eric] That's awesome.

[Sean laughs] Another T-shirt quote.

[Chris] Later on, there's a couple of-- [stammers]

I had a separate thought, and I think it ties into yours,

is that there's some long shots of the temple

and the cloud...

[Sean] Just noticed a split loom dropped down.

[Chris] ...behind her crystal pyramid

looks like it extends outside the temple into the New York space.

It's almost like the two worlds are actually kind of overlapped.

I thought that the dog in the statue thing was just two worlds overlapping.

[Eric] That makes sense.

[Chris] Well, no, it was completely made-up. But I like it.

[Troy] I wanna do a quick shout-out with this lightning here

to Terry Windell, the animator who did that.

- Boss Films, I Am Legend.

-[Sean] The best lightning animator ever.

[Troy] Yeah.

[Sean] The effects in these films are so specific and they're so greatly done.

[Chris] And again, compared to letting a computer procedurally generate it,

-it just looks so organic.

-[Sean] It has an organic feel to it,

'cause you have a human making those decisions.

[Troy] Yeah, Terry recently passed away. Very sad.

But, uh, amazing talent.

[Chris] Was it Terry that also did the-- the little quick bits

with the transformation and the skeletons and all that?

[Troy] Yeah. Doing that sort of A-B

between the live action and the stop-motion--

[Chris] Yeah, there's no morphing or anything,

so rather than just have a hard cut from one shape to the other,

they hide it with lightning and skeletons and flashing.

[Eric] And dissolves and stuff. I love--

-[Chris] See? There's the cloud...

-[Ashley] I love this.

...Inside, and the cloud extends outside. It's like the...

-[Eric] Like between two worlds.

-[Troy] Both dimensions?

[Chris] Yeah, the two dimensions are kind of--

[Eric] That's kinda cool.

I've never noticed that before. That's fun.

[Troy] Okay, so Gozer...

-[Eric] Oh, yeah, originally.

-[Troy] Okay, so Gozer

originally was supposed to be a man in a business suit here.

[Eric] And supposedly played by Paul Reubens.

[Chris] Yeah.

-[Troy] Oh, really?

-[Eric] Yeah.

[Ashley] WOW!

-[Sean] Can you imagine?

-[Eric] Was it lvan's idea

to make it more of an androgynous, David Bowie-type-looking character?

[Troy] I'm not sure whose idea it was, actually. I haven't heard.

[Eric] I read it was Ivan, but I'm not sure.

[Ashley] I love all the iconography of this sequence,

because it looks like they're trying to convince me to join a cult

and I'm kind of here for it.

-[Eric] The pyramid in the background?

-[Sean] I'm down.

[Ashley] I'm still thinking about the question

about why turn back into the Terror Dogs,

and I guess it's because they're more threatening.

As a utilitarian tool, they're better than a human form.

And then there's the subliminal messaging of, like,

-"You are a dog. You are beneath me."

-[Eric] "You are subservient."

-[Ashley] Yeah.

-[Troy] Yeah.

[Chris] Subcreatures. Everything is a subcreature.

[Troy] Coming soon, Gozer worshippers to a town near you.

[Chris] Remember, kids, the long horns is Vinz Clortho.

The short horns is Zuul.

-[Eric] That's the distinction.

-[Chris] That's how it works.

Don't get 'em confused.

As a duly designated representative...

-[Chris] Another Dan list.

-[Eric] Another great Aykroyd speech.

I like that he swallows.

...cease any and all supernatural activity and return forthwith...

[Ashley] I live for the red eyes as well.

-[Troy] Yeah.

-[Chris] Yeah.

[Eric] Those contacts had to have been horribly uncomfortable.

-[Chris] Thanks very much, Ray.

-[Ashley] Awful.

Are YOU a god?

-[all laughing]

-[Eric] You got this.

No.

-[Chris] Such an honest Canadian.

-[Eric] How did he get "no" from that?

Peter's telling him, "Say yes. You're a god."

[Chris] Maybe after all these years together,

his reaction is whatever Peter the con man says to do,

don't, 'cause it gets us in trouble.

[Ashley] Yeah. Peter just calls up, he's like, "Can you lie yet?

- No. I'll call you in a week."

-[Eric] That's really close to the edge.

[Chris] Yeah, and that's like two stories up, almost.

[Ashley] You wouldn't necessarily break your leg from two stories,

you just might.

[Troy] That's the top of a New York high-rise.

What are you guys talking about? It is more than two stories.

-[Chris] That might be the--

-[Eric] Twenty-second floor.

[Chris] That might be the second most quoted thing.

-[Eric] Yeah.

-[Sean] It's about to get serious.

-[Chris] "You say yes."

-[Troy] Watch, uh...

- Yeah, Ray puts down the trap.

-[Sean] He just put the trap down.

I never noticed that before. That's funny.

[Ashley] I love this.

Got your stick?

[Troy] This is a Stripes thing, too.

- This is like John Winger from Stripes.

-[Eric] Very Stripes.

That close-up. We've all obsessed over the building.

Ready!

[Chris] I love that she lands in the perfect '80s record album cover.

-[Troy] Yeah. And in heels, no less.

-[Ashley] Yeah. Yeah.

[Troy imitates footfall]

[Eric] "Mrs. Gozer, are you trying to seduce me?"

[Chris] There it is. There's the album cover right there.

Aim for the flat top!

-[Ashley] "Aim for the flat top!"

-[Eric] What's the title of the album?

Would it be Crossing the Streams?

[Chris] I don't know. Rubber Lightning.

That's an '80s album name.

- Rubber Lightning.

-[Troy] That's funny.

The Destructor, by Gozer.

[laughter]

-[Chris] Choose and Perish.

-[Troy] Choose and Perish, by Gozer.

[Eric] I like the "Jews and berries" line.

[Troy] Oh, yeah.

[Eric] Supposedly, they could not understand...

[Ashley] "Neutronized it."

...her thick accent.

[Chris] Slavitza Jovan is Czechoslovakian?

-[Eric] Apparently Bill said--

-[Troy] Yugoslavian.

-[Chris] Yugoslavian.

-[Eric] Yeah.

-[Chris] The very heavy accent. Yes.

-[Eric] So funny.

- Is that a light meter that he's holding?

- I hope that still holds true.

-[Eric] Yeah.

-[Troy] Uh, I believe so.

-[Eric] No, it's a light meter. I'm sorry.

-[Troy] Yeah.

[Chris] Doesn't he wave that around in the second movie, too, a bit?

[Troy] Probably.

[Eric] Yeah, a lot of the gear does carry over into the second movie.

[Chris] "All right, guys, we can't shake it, it's too big, so, pretend."

-[Ashley] Yeah, "You gotta shake it."

-[Eric] This massive...

- That's insane, that thing dropping off.

-[Troy] Yeah.

[Chris] The crazy part is, that ends up on the street,

-like, again, this beautiful consistency.

-[Ashley] Yeah.

[Chris] Ooh!

- Yeah, that thing that broke up, too.

-[Eric] Better get out of the way.

The rock that bounces off the barrier. I love that one.

[Chris] Well, in a space of five seconds,

we have a giant one that actually shatters apart near them,

and then we cut to one that bounces. [chuckles]

[Troy] And miraculously, the Ecto-1 always stays untouched.

[Chris] Of course.

- Well, they only have one.

-[Ashley] Wouldn't it be so great

if, just once, they would drive it around with a huge dent?

-[Eric] Yeah.

-[Ashley] In the hood.

[Sean] I'm so glad nothing hit the Ecto.

[Ashley] It would've hurt you physically if the Ecto got damaged?

[Sean] Probably. Yeah.

I get it, I get it. Very cute!

Whatever we think of...

if we think of J. Edgar Hoover, J. Edgar Hoover will appear...

[Troy] So, why isn't J. Edgar Hoover

walking through the streets of New York right now?

That's what I've never understood.

[Chris] You know, for a doctor of psychology,

he should've been aware of the whole "pink elephant" thinking phenomenon.

-"Don't think of pink elephants." Uh-oh!

-[Troy] Aww.

"Thought of the pink elephant."

[Eric] "Nobody choosed anything."

- I love that.

-[Chris] "Choosed anything."

I didn't choose anything!

[Eric] Bill Murray scream.

[all laughing]

[Eric] They all converge on him.

[Ashley] Sometimes Ray is too pure for this world.

[Troy] Yeah. Heart of the Ghostbusters.

[Chris] And he really couldn't. "I couldn't help it."

It just popped in there.

What?

[Troy] This was another good reference shot for the Packs, right, Sean?

Look at the...

Look!

What are those... The screws that you use on the Packs?

That was the first time I saw

that you had to use that particular type of machine screw.

[Sean] Yeah.

-[Chris] Did you have a wall?

-[Ashley] Yes!

[Chris] Did you have a wall of, like, 30 screen-grabs at some point?

Like, just covered when you were making the Packs?

-[Sean] Had?

-[Chris] Still have? Okay. Sorry.

What was I thinking?

[Eric] This is one of the greatest shots in movies, ever.

[Chris] Yeah. I'm kinda sad that building got overhauled, too.

[Sean] This is some of the greatest matte work.

I love the shot when the fire hydrant explodes

knowing that, apparently, that's salt.

-[Chris] Yeah.

-[Sean] Because that was a miniature.

[Eric] That's incredible.

[Ashley] We collect Stay Puft marshmallows mans at my home.

-[Eric] Oh, nice.

-[Troy] That's cool.

[Ashley] There's so many of them.

And then, there's always the ongoing debate of

Is Stay Puft better when they are happy or when they are angry?

[Chris] He's scarier when he's happy, I think.

Something I loved from my childhood.

Something that could never, ever possibly destroy us.

Mr. Stay Puft.

[Ashley] That feels very prescient for modern fan culture.

[Eric] Yeah.

We used to roast Stay Puft marshmallows...

[Chris] I like that she cheats like it's just...

[Eric] "Camp Waconda." I like when he bites his lip. He's like...

-"Mmm..."

-[Ashley] Aww.

[Chris] It's God logic. She's like, "Choose your form."

And if somebody clever goes, "An ant."

She's like, "Well, it was always gonna be 112 feet tall."

-[Sean] There's the salt.

-[Chris] Here's your 112-foot-tall ant.

-[Eric] It's so great.

-[Chris] It looks beautiful.

-[Sean] It's so effective.

-[Chris] Little cars.

[Troy] For being a man in a suit, which is, you know, the old Godzilla trope...

-[Sean] I know.

-...It looks so wonderful.

Mother pus bucket.

[all laugh]

[Eric] I like Peck. Just randomly there.

[Chris] Yeah, it's a fake electronic light show there, Peck, okay?

...two, three! Roast him!

[Chris] "Roast him."

- Love that face, though.

-[Ashley] He's so mad.

[Troy] He's missing the handkerchief there, around his neck, you guys notice that?

-[Eric] Oh, yeah.

-[Troy] Yeah.

[Ashley] The little Sailor Moon sailor suit.

[Troy] Was it because of the burn here, Eric?

-[Eric] Yeah.

-'Cause they did the burn and they didn't wanna shoot it again.

-[Sean] Foam stunt Packs.

-[Eric] They realized it after the fact

-but they only had so many...

-[Chris] Yes.

- Venkman squishes against the wall.

-[Sean] Yeah, squishy. Squishy.

-[Eric] Stunt Pack.

-[Sean] And the ion arms are backwards for some reason.

[Chris] Rubber doesn't come in that other direction.

[Ashley] For reasons.

[Eric] There are people in there.

[Chris] That was a really nice building model, too.

Like, you just don't notice it, and then all of a sudden, you realize,

"Oh, that's not a real building. That's really nice."

We'll cross the streams.

Excuse me, Egon, you said crossing the streams was bad.

-[Chris] I was listening to lvan--

-[Ashley] "Was bad."

[Troy] Once again, he realizes what Egon is...

-[Eric] Yeah.

-...and catches up.

[Eric] "Became a dog."

[Chris] Ivan and Harold, when they're talking on their commentary,

they brought it up early on, like, "Don't cross the streams."

But it was never written that this was supposed to be the solution apparently.

They just got here and they went, "How are we gonna wrap this up?"

Ivan went, "Oh, right. Crossing the streams."

- I don't know if--

-[Troy] Interesting.

-[Ashley] So good.

-[Sean] Took him a while to climb.

[Ashley] He is not fast.

[Chris] Terror Dogs, you moved from your cues.

-[Sean] He is on fire.

-[Chris] Get back.

Nice working with you, Dr. Venkman.

[Chris] That's too much emotion for Venkman.

[Eric] Yeah, he's like, "Come on, don't ruin it."

[Ashley] He's like, "I'm a man. I don't have feelings."

[Eric] Yeah. "Don't make me have a feeling."

Gozer knows what's coming.

It's a super proton beam.

[Chris] I like the dog. That one dog that was about to paw at it.

[Sean] Yeah.

-[Ashley] Typical dog.

-[Troy] Reaching out to grab the streams.

-[Eric] Yeah.

-[Chris] Fa-boom!

[Eric] The world's biggest explosion.

- They'll be fine.

-[Ashley] It's gorgeous.

-[Eric] Sure. Everything's cool, right?

-[Troy] Yeah.

[Sean] I love those clouds that are dispersing. It's so great.

[Chris] I've always, in my head, just assumed

that the marshmallow was ectoplasm-based.

Otherwise, the burns going on here would be...

-[Troy] Oh, yeah.

-...considerable.

[Troy] Poor Walter Peck with molten marshmallow falling on him.

[Eric] I love that story about them dumping it.

-[Chris] Oh, the stunt guy?

-[Eric] On the stunt guy.

I wish they left in the shot of the hat floating down.

[Chris] Nice touch there, of the sun coming up on the horizon.

-[Troy] Yeah.

- As they're about to leave in the morning.

Like, just, everybody thought it through.

[Eric] Their continuity game is on fleek.

-[Ashley] Just the wayward legs.

-[Eric] He's like...

[Chris] I love-- I love Egon's sound of disgust.

[Eric] Like the floor of a taxicab.

[Chris] No, no. Both him and-- and Ray are excellent descriptive writers,

but no, before that he does a "ugh" noise.

- Yeah, right there. [laughs]

-[Eric] Oh, there it is.

[Chris] Ugh!

[snickers, chuckles]

[Chris] You know what, there's not enough marshmallow-covered cosplayers.

[Eric] But can you imagine walking around a convention in that all day?

[Chris] Yeah! That's why we need more of it.

-[Ashley] I love that.

-[Eric] It's a great idea.

[Ashley] This scene to me is always Bill Murray

being like, "You're not putting that on me."

-[Eric] Yeah.

-[Ashley] "Absolutely not."

[Eric] But at the same time, it's Dan Aykroyd saying,

"Yeah, pour it on."

-[Ashley] Absolutely, yeah.

-'Cause there's so much on his head and...

-"More slime."

-[Ashley] "No, more, more."

[Sean] "More marshmallow."

[Chris] Yeah, but when he does the puppy-dog eyes here,

it makes it even better.

[Troy] I know.

[Chris] "I'm sorry."

-[Troy] Bites his lip again.

-[Eric] Yeah.

[Chris] I don't think we see his lips.

-[Eric] So much marshmallow.

- Yeah... just his eyes. He's so sad.

His posture is hysterical, too.

[Chris] Now, what the heck did they make this out of?

[Eric] Fiberglass, right?

Sean, wasn't this a fiberglass shell?

[Troy] I'm not sure what they made these out of.

-[Sean] Probably sculpted foam.

-[Eric] I feel like that would really hurt

-if somebody ripped apart fiberglass.

-[Sean] They have to pull it apart. Foam.

[Chris] It come apart so... Maybe foam with plaster on top or something?

[Ashley] Yeah, like, some plaster of paris to give that crumble effect.

[Chris] 'Cause it really looks like they're pulling charcoal briquettes...

-[Eric] Yeah.

-[Sean] I think it's probably mostly foam

to dig her out of there.

-[Chris] it looks really good.

-[Eric] That looks pretty light.

[Sean] It's a great reveal.

[Chris] All right. Okay, Venkman, whoa, whoa, whoa.

[Eric] They only got to do that once, though, probably.

[Sean laughs]

"You destroyed the one prop we have."

-[Chris stammers]

-[Ashley] "Go check on that little guy."

[Chris] I will admit, when I had my son,

I've yelled that at my wife a couple of times.

-[Troy] What?

-[Chris] "Go check on that little guy!"

[Troy] Oh, that's funny.

[Chris] It's handy at playgrounds. "Go check on that little guy."

[Weaver groans]

[Ashley] And that was the night Oscar was born.

-[Chris] It can't be.

-[Eric] Well, no. Right?

[Ashley] No, it's some time later.

But there is a crazy corner of fan theory that they never actually hooked up,

that it was this event that impregnates Dana.

[Chris] And that she gestates for five years?

[Troy] Well, demon baby.

-[Chris] Demon baby. That's true.

-[Eric] I always thought it was...

what's-his-name from the orchestra that was Oscar's dad.

Anyway, that's for the Ghostbusters II commentary when we do that.

[Chris] You know what, for all the changing they did to the script,

and stuff got moved around, Ernie got some of the best lines, though.

-[Troy] This one. Yeah.

- And they give him the end of the movie.

[Eric] Yeah, it's great.

-[Chris] For a New York love letter...

-[Eric] Yeah, a valentine to New York.

I love this town!

-[Chris] There you go.

-[Ashley] So good.

[Troy] Okay, so, we're back in New York City

-and, Chris, I think you pointed this out.

-[Chris] Yeah.

[Troy] Sigourney is now wearing this cover-up.

Is it because the dress may have not been finished...

[Chris] The dress may not have been finished.

[Troy] ...for the Los Angeles filming?

[Chris] I mean, it just looks like modesty,

but really, this was October, November.

[Troy] It was a couple of months before they shot in LA.

-[Chris] And all the rooftop stuff.

-[Eric] Yeah.

[Eric] Troy, is this where the Bill Walton cameo...

[Troy] Bill Walton is coming up here on the editor credits.

-[Sean] I just read about this.

-[Eric] Yeah, he just talked about this.

[Chris] There's Eldo in the back here.

-[Ashley] They're smoking.

-[Eric] I mean, that's what you get.

It's New York City and all of these people were bystanders who just showed up

'cause they heard that the guys from SNL were filming a movie.

And, of, course, somebody like Bill Walton is probably in the area and walks past...

[Eric, Chris] "Does anybody want to interview me?"

What's going on?

Does anybody want to interview me?

[Troy] He's got that cover-up, so maybe--

[Chris] "I was up there."

-[Eric] So maybe that's what happened.

-[Troy] Yeah.

It's a post-shock thing that the Red Cross has handed to Dana.

[Sean] "I wanna go in the car with them."

-[Eric] Yeah.

-[Troy] Put this blanket on them.

[Chris] I just think, production-wise, it was a cover for the fact.

Well, that, and that dress would be freezing.

-[Ashley] Yeah.

-[Eric] That's also true.

[Troy] She probably put on a housecoat before she went down.

[Ashley] I love this that they have to help each other take the Packs off.

-[Sean] Oh, you do.

-[Eric] You have to.

[Chris] See, there's the chunk of face column there.

[Troy] Yeah.

[Ashley] That doorman would be so livid.

[Eric] That poor guy. He needs a day off.

[Troy] We should recreate those shirts, too.

[Eric] Yeah.

[Sean] I love the priests blessing them as they go.

[Troy] John DeCuir.

[Chris] You say that like people haven't been yelling that for 25 years.

-[Eric] I'll add it to the list.

-[Troy] So, here comes Bill Walton.

Bill Walton is on this shot right here.

-[Chris] There he is. By the microphone.

-[Troy] There he is.

In the track jacket.

[Chris] Now, here's the best part. Watch that-- that news crew.

'Cause there was one shot, the light's going.

They had one chance to have them pull out and drive off down the street.

[Troy] I love the mental patient. He's one of my favorites.

[Chris] Watch the news crew, they get separated.

And there's a two-second argument about what to do about the microphone.

[Eric] In a pre-wireless technology age. Watch this wire.

[Chris] See? Okay, they get split.

Cameraman and the guy backing him on one side,

but the guy with the mic is on the other.

There's a, "Give it here, give it here."

[Sean] That's exactly what it's like to try to drive through Salem

in an Ecto-1 on Halloween.

[Chris] High five, high five, high five, high five.

- Was that Egon high-fiving?

-[Eric] Chase the car.

[Chris imitates Slimer]

-[Chris] Yes.

-[Ashley] Yes.

-[Eric] Sequel.

-[Troy] Back in the sequel.

[Chris] Boy, the busboys got three plays in this movie.

[Eric] Yeah, good for the busboys.

[Chris] I think that's more than Ray Parker Jr. did.

[Eric] Yeah, Theoni Aldredge, who we didn't really talk about,

the costume designer, I mean, as fans, we all cosplay...

You know, the jumpsuits we were talking about,

how the wardrobe and the fashion has kind of come back into style,

- I mean, we owe a lot to her.

-[Troy] Ivan actually met her on Broadway.

She did Merlin, which was a show that Ivan produced.

-[Chris] Oh, yeah.

-[Troy] And that's how she got onto this.

-[Ashley] What a weird small world.

-[Sean] That's incredible.

[Troy] Thank you, guys, for being here. This was a lot of fun.

-[Eric] Thank you.

-[Sean] We are the thankful ones.

[Ashley] Thanks for twisting our arms and convincing us to come.

[Troy] I know that there are only a handful of you are here,

but obviously, I think I speak for everyone

that we wish all the fans around the world could be here doing this with us.

There's so many people.

[Eric] Yeah, we wouldn't be here if not for the fans,

that's why this fandom is so giant,

is the love of this movie, and I mean, this is really...

It's funny, it's given me some of my most unexpected best moments

that have happened just out of, sort of, you know,

the love for this film and the people that have brought it into my life,

like the people sitting here, you know, and, like, friends far, friends near.

Just like it's almost like a common language

-when you start talking to another fan.

-[Troy] Around the world.

[Chris] Our heads are full of this knowledge

not because we figured it all out,

it's because everybody's been sharing it back-and-forth for 2O years, right?

[Eric] Yeah, all the time.

[Chris] AJ Quick at GBFans, Paul Rudoff at Spook Central.

[Eric] Alex Newborn.

[Chris] Alex Newborn, Chad at Ghostbusters.net.

-[Troy] Yeah, Norm Gagnon...

-[Chris] Norm Gagnon.

[Eric] Peter Mosen. He was the first.

[Chris stammers] Then we get to the franchises,

which, at this point, I don't even think you can properly catalog.

[Troy] You can't keep up

[Eric] No.

[Troy] It's funny. You get one semi kind of throwaway line from the movie,

"The franchise rights alone will make us rich beyond our wildest dreams."

And everyone's like, "I'm a franchise." Suddenly it's canon. It's like--

[Chris] An entire couple of generations of fans went, "Sold."

[Ashley] There was an entire pocket industry

-of comic books expanding on that.

-[Eric] "I want to go to there."

[Troy] Yeah, that's the coolest... I mean, I've talked to people...

Chris and I have a really good friend

that's a member of the Ghostbusters of Japan, Naoki,

and he listens to our podcast

and he's learning English by listening to us

and he sends us these care packages of all of these cool Japanese snacks

-that are Ghostbusters themed.

-[Eric] That's adorable.

[Chris] Frankly, I think we're getting the better end of that deal.

-[Troy] Oh, yeah.

-[Chris] The poor guy.

[Eric] And GBMax who is--

-[Troy] Ghostbusters ltalia.

-[Chris] Massimo is...

[Troy] So nice.

[Chris] I got to meet him. I got to meet him actuallyjust last year

and he is... Boy.

Frankly, I would swap all four of us for him to be here.

[Troy] Oh, his enthusiasm, man.

[Chris] He is so enthusiastic about this movie.

-[Troy] Such a nice dude. Yeah.

-[Chris] Oh, so amazing.

Well, I mean, I'm in British Columbia,

so the gang at the Ghostbusters of British Columbia,

uh, the Ghostbusters of Ontario, the Ontario Ghostbusters--

-[Ashley] Heck, yeah.

-[Chris] Adriana and them are out there.

- Everywhere, Montreal, South Korea...

-[Troy] South Korea, Montreal...

-[Chris] England is covered.

-[Troy] Scotland, Germany.

- Germany.

-[Ashley] Yeah.

[Chris] England is filling up with teams all over the place.

[Troy] Germany's props are amazing. Everything they do.

[Chris] Yeah, by the way, Europe's con presence is--

-[Sean] Oh, they're no joke, man.

-[Ashley] Yeah.

[Chris] They're one step away from just opening an amusement park together.

[Sean] Yeah, they're incredible.

[Troy] You know, when you think about the fan films that have popped up...

-[Chris] Yeah.

-...out of all this.

Like, some of the effects are every bit as good as what was in here, so amazing.

[Eric] Sorry, real quick.

Just 'cause his name flashed up on the screen there,

go seek out Making Ghostbusters by Don Shay.

That's why he got a thanks there.

If you want more behind the scenes tidbits and making-of stuff,

that book is a wonderful resource.

[Chris] That's a hard one to find.

There's a kind of a trilogy.

Making Ghostbusters and Cinefex number...

-[Eric] Cinefex number 17, also Don Shay.

-[Troy] Stay Puft on the cover?

- Yeah.

- There was a couple of Cinefex.

-[Chris] Stay Puft on the cover.

-[Eric] Yeah.

[Chris]
And then, The Ultimate Visual History...

-[Troy] Which was Daniel Wallace.

-...that just came out.

-[Eric] Get them all.

-[Chris] If you can get those three...

[Troy] I understand there's a great one, Ecto Owner's Manual.

-[Chris] Oh, shoot.

-[Eric] It has also come out.

- It is very popular.

-[Chris] I should've known that.

-[Troy] I know a great book for you.

-[Eric] It's good. It's pretty good.

[Chris] Sorry, there's four books now. I'm sorry, Troy.

- I'm so sorry, Troy.

-[Troy] That's okay.

That's all in-world technology, like a technical manual.

-[Chris] Yes.

-[Troy] Well, there it is, everybody.

[Eric] Yeah, thank you. So, maybe one more year,

and we'll all be back here in 2020

-to do this again.

-[Sean] Oh, God, yes.

[Troy] We're gonna hold you to that, Eric.

[Eric] All right.

[Sean] I would mark that on my calendar now.

-[Eric] Thanks, guys.

-[Ashley] Just forget all the nice people

that were just named and just call us.

[Eric] And thank Ivan for us

and all the guys who are still around involved with all of this.

They've made a lifetime of fun for all of us, so...

-[Chris] Hasn't even ended yet.

-[Troy] No.

The best is yet to come.

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