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- You can never tell
if a movie's
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going to do well or not.
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- We knew we had it;
it was a good idea.
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But no one knew
we had a phenomenon.
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- A love letter to our common
condition and to New York.
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- Ivan decided to add
a hundred shots.
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- The date that it's gonna open
is in, like, 3 1/2 weeks.
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- You never know,
in this business,
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how long something's going
to last
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and whether it's just
going to me a trend, a fad,
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or have some
enduring impact and, um,
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as certainly as we see today,
it does.
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- You know, I had a kind offeeling that it was unique.
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- In America, something
very unexpected happened.
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"Indiana Jones" was outstripped
at the box office
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by a picture called
"Ghostbusters."
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- It's all the more surprising
when you realize
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that Steven Spielberg had
nothing at all to do with it.
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- That kind of comedy, withthose kind of special effects.
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- To quote "Variety" again,
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"Gags and special effects
scare pic misses its mark."
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Well, I certainly wouldn't
go along with that.
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It hits its mark, all right,
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and turned out to be the
biggest jackpot of the year.
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- And that crew,
that was so hot at that time.
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- Did you expect "Ghostbusters"
to be as popular as it was?
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- Yes.
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- When that came out,
suddenly I was famous.
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- I think anybody would haveto be very arrogant and say,
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"I'm gonna do more than$200 million
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when only five filmshad done that previously."
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- So it gives you some idea of
how major a phenomena it was
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and then repeat it
in subsequent summers.
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- This was a real movie.
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- And no one had done a comedy
on that scale.
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- I didn't even know
what a BAFTA award was.
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- "Ghostbusters."
- I don't know about winning.
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I didn't thinkI was gonna win.
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I'm sorry if I'm not as calmas some of the other winners.
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It always seems like it goes to
the other guy, you know?
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- I think we fully believed
that we were gonna carve out
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a little niche in film history.
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- It all starts withthis gentleman.
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Dr. Samuel Augustus Aykroyd,my great-grandfather
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who was a dentistin Kingston, Ontario.
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Great-grandfather Sam,as well as being a dentist,
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was a psychic researcherin the tradition of
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the British Psychical Societyand the American Society
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of Psychical Research, and um,
he, throughout his life,
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was interested in the survival
of the consciousness
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in mediumship, channeling,afterlife voices,
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where the dead really are
living, in terms of a presence.
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You could go to Lily Dalenear Buffalo New York
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and my great-grandfather was
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the reviewerof all the psychic acts
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that rolled through town,
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whether it be a channeler,
a mediumship,
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whether it be a precipitated
painter like the Bang sisters
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or the Campbell brothers.And every Sunday,
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these big, black cars
would pull up
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and men and women
all dressed up
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would come just like Sunday
to church.
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There was an impresario,my great-grandfather,
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there was a showman,Mr. Ashurst,
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who became the family medium.
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He was a gifted medium--really, really gifted.
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He could speak in Chineseand Hungarian
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and he made trumpetsfly around the room.
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So my great-grandfatherwatched
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and he wrote about them,
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whether they were genuine,
hoaxes,
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whether they were
appealing or not,
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and we found a trunkful
of his letters.
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So his letters, his journalswere always in the family
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when I was growing up,
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and after I made my living incomedy, I thought, why not mix
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the real world of psychic
research, using the real work
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of Dr. Wohl
and the Maimonides Dream Lab
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and Duke University'sParapsychological Department,
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and use what wasreally going on
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in the science in terms ofresearching
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whether there is survivalof the consciousness
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and whether there are, in fact,
such things as materializations
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and apparitions and, you know,
take that jargon
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and that knowledge
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and make a good, old fashioned
ghost comedy.
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- I don't believe in ghosts.
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00:05:02,006 --> 00:05:03,473
Or do I?
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- The propertygot the enthusiasm first
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00:05:10,415 --> 00:05:12,951
of Bernie Brillstein,my agent, God rest his soul--
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there's a voice I would like
to hear from the past.
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How ya doing, kid?
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Hi, kid, hi, hi, hi!
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Also got the enthusiasm
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of Michael Ovitz, the famousagent who founded CAA.
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Those two guys looked at this
and said, "This is, you know,
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"we really have something here,
so let's package it
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the right way and getthe right people involved."
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- "Ghostbusters" started as
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this sort of
very famous treatment
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that was written by
Dan Aykroyd.
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- I know Ivan from years--
he hired me as an announcer
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on a television station
in the '70s
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in Toronto, so I know him
for many years,
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and the fact that Harold Ramishad worked with him.
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- The concept was so strong.
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He had written it
in the early '80s
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and it was set in 2012,
I think.
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00:05:52,957 --> 00:05:55,059
- It was a much
different kind of movie.
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Danny always imaginedthat John Belushi and he
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being part of this
for a science fiction movie.
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00:06:02,133 --> 00:06:03,968
- Eddie Murphy, myself,and John
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00:06:04,035 --> 00:06:05,703
were supposed to bethe original Ghostbusters.
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- You know, it took place
in outer space,
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sometime in the future.
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- For a variety oftechnical reasons,
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there was a hole torn
in our reality envelope--
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this is all in
a little prologue.
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- We rip the fabric of ourdimension with the EMF waves.
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That was the original premiseof the first movie,
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that all of this electronica
around us is yielding a rift
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in the interdimensional veil
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between our dimensionand the next one.
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- And the ghost energy thatflooded into New York City
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giving rise to a new
profession, Ghostbusters.
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- I was working with Ivan
and Danny Aykroyd sent over
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a script, which was very long.
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And my memory is that therewere a lot of Ghostbusters
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and they weresort of like plumbers.
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- I can't believe I work for
a company called Ghostbusters.
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- Sort of a blue collar job.
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- And the teamin the movie was
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just one ofmany Ghostbuster units
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and they thought of us
as like the Orkin men...
135
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- ♪ To control your pestsOrkin is best ♪
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♪ Call the Oslo the Orkin man ♪
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- To show upin this marked truck
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and exterminatethe ghosts and leave.
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- Had the proton packs,had a Marshmallow Man--
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mind you, it was one of
50 large illusions.
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- Which necessitatedthe Ghostbusters travelling
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interdimensionally
into another world,
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and that other worldwould be
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entirely a worldof special effects.
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Like, the wholelast third of the movie was
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one huge special effect.
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- This was sort ofthis extravaganza
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that he had concocted.
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- ♪ Fighting ghosts ♪
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- Ghostbusters.
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- Danny came to Needham
and they went to Art's Deli.
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- I said to him, Dan, there's
a great idea here, but we--
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you know, I really think
it should take place today,
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you know,
in a contemporary time,
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it should be in a real city,
on Earth, i.e. New York.
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All this fantastic stuffwill be much more impressive
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set against the realitythat we knew.
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- But also it seemed like the
real comedy heart of the film
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was in the juxtapositionof these ghost janitors
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taking the supernatural andmaking it completely mundane
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and setting it in a place
as grounded and gritty
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as New York City.
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- But that basic idea,
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that wonderfully
brilliant idea, was there.
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- Ivan had known mesince the Lampoon days.
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Ivan said to Dan, "You know,
why don't we get Ramis?
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"You guys canrewrite the script
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and he can playone of the Ghostbusters."
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And since John had passed away,
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Dan had developed a friendshipwith Bill Murray
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starting way back when Bill and
I were in the Lampoon together.
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- We said we gotta
get Murray in on this,
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and we gotta give it to Murray,
we gotta give him the lead
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and let him be the greatest
romantic lead that the world
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has ever seen and he did do
that for us, he pulled it off.
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- I was having a prettygood time with the studios.
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My first three movies were"Animal House,"
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"Meatballs" and "Stripes."
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I called up the head ofColumbia Pictures
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and I said, Frank,
I have this great idea
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and it's gonna have Bill Murray
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and Dan Aykroyd, it's called
"Ghostbusters," I want to bring
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Harold Ramis in as a star
as well
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and as a cowriter with Danny.
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He said, "Well, come on inand tell me about it,"
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and literally a half hour
after this conversation began,
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he said, "Well, how much
do you think it'll cost?"
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And I had no idea
what it was going to cost
189
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and I just picked
a very big number.
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- I remember Ivan holding it up
and saying...
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- I think we could do itfor about 30 million.
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- He said, "You have $30million, as long as you can
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deliver it by June of 1984,"
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and this was about May 1983
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when this conversation
took place.
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- We sort of dropped and said,
"Sure, yeah, sure."
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- What we were facing suddenly
was here, in May of 1983,
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was having to writethe screenplay,
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basically findan effects house
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who could actually pullthe visual effects off
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and cast it
and put it together,
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and we had really zip,
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we had to reconstructa script from scratch.
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We went to Martha's Vineyardtogether, Harold Ramis,
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00:10:00,972 --> 00:10:03,675
Dan Aykroyd and I,
and our respective families.
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00:10:03,741 --> 00:10:06,978
- Dan had a house on Martha's
Vineyard, he and John Belushi
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00:10:07,044 --> 00:10:08,346
when they'd gotten successful
208
00:10:08,412 --> 00:10:10,481
each bought a house
on the Vineyard.
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00:10:10,548 --> 00:10:12,984
And driving up, when you hitthe edge of his property,
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00:10:13,050 --> 00:10:14,619
there's a military checkpoint.
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00:10:14,686 --> 00:10:17,622
I remember there was a barrier
that came down and it was
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painted in military colors and
everything, and up in his house
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00:10:21,892 --> 00:10:23,527
he said, "Well, let's work
in the basement,"
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00:10:23,594 --> 00:10:27,431
which was painted camouflage,
the whole basement was camo.
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00:10:27,498 --> 00:10:30,301
- And so we would meet in the
basement every day from about
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00:10:30,368 --> 00:10:35,072
11:00 in the morning to about
7:00 or 8:00 at night,
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00:10:35,139 --> 00:10:36,807
and then go back
to our families
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00:10:36,874 --> 00:10:38,710
who were having
a great vacation.
219
00:10:38,776 --> 00:10:40,278
- When you have a great idea,
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00:10:40,344 --> 00:10:41,680
when you really knowwhat you're doing
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00:10:41,747 --> 00:10:43,948
and you feel confidentabout it and you're laughing
222
00:10:44,015 --> 00:10:46,384
to yourself and it feels
really fresh--
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I'm not saying these things
write themselves,
224
00:10:49,020 --> 00:10:50,988
but there's just
a real easy flow to it.
225
00:10:53,224 --> 00:10:54,992
So our first draft togetherwas written
226
00:10:55,059 --> 00:10:57,094
in a relativelyshort amount of time.
227
00:10:57,161 --> 00:10:59,997
- And we just basically
pounded the script out
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00:11:00,064 --> 00:11:01,499
over a two week period.
229
00:11:01,565 --> 00:11:03,801
- Very exciting and very
entertaining to play
230
00:11:03,868 --> 00:11:05,436
in that area, as we did.
231
00:11:05,503 --> 00:11:08,005
- It was so much fun and
it was so funny, but we had--
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00:11:08,072 --> 00:11:10,441
one of the first big changes,
233
00:11:10,508 --> 00:11:12,510
which Ivan and I came to quite
independently
234
00:11:12,576 --> 00:11:14,713
was that we wantedthe audience to experience
235
00:11:14,780 --> 00:11:19,751
the journey from skepticismto belief
236
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because I'm a skeptic
and I thought,
237
00:11:21,653 --> 00:11:23,054
well, if I were this character,
238
00:11:23,120 --> 00:11:25,489
I'd need to be convinced
that these things were real,
239
00:11:25,556 --> 00:11:29,026
and no one had any conceptionyet of who those Ghostbusters
240
00:11:29,093 --> 00:11:31,595
were because Dan's script
was very technical
241
00:11:31,663 --> 00:11:33,264
and very abstract.
242
00:11:33,331 --> 00:11:35,032
So if you'd read itat the time,
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you wouldn't seemuch differentiation
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00:11:36,867 --> 00:11:39,103
or real specificpersonality
245
00:11:39,170 --> 00:11:40,706
among the Ghostbusters.
246
00:11:40,772 --> 00:11:43,742
So the fact that they were kind
of really neutral was good
247
00:11:43,809 --> 00:11:47,411
because it allowed us to putour own character imprint
248
00:11:47,478 --> 00:11:49,046
over each of them.
249
00:11:49,113 --> 00:11:51,717
- You know, most scientists and
physicists from the '30s
250
00:11:51,783 --> 00:11:53,752
and '40s and '50s, you know,
a lot of them are Germans
251
00:11:53,819 --> 00:11:57,555
and Swiss and Spengler,
Stanz and Venkman seemed to be,
252
00:11:57,621 --> 00:12:00,057
you know, us Swiss
and German Americans.
253
00:12:00,124 --> 00:12:03,027
Americans, though, please,
absolutely, yeah,
254
00:12:03,094 --> 00:12:05,096
new countrymen,
new countrymen.
255
00:12:05,162 --> 00:12:07,198
- Ivan one day turned to me
and said,
256
00:12:07,264 --> 00:12:09,567
"What if the Ghostbusterswere college professors?"
257
00:12:09,634 --> 00:12:11,869
And I said, hey, I get that, Iused to teach at a university,
258
00:12:11,936 --> 00:12:14,538
I understand what that would be
like, that's a great idea.
259
00:12:14,605 --> 00:12:17,174
- So instead of making them
just janitors
260
00:12:17,241 --> 00:12:19,377
or the guys who come
261
00:12:19,443 --> 00:12:20,746
and get the termites out
of your basement,
262
00:12:20,812 --> 00:12:23,347
we thought we'd make themscientists.
263
00:12:23,414 --> 00:12:25,483
- off, man,I'm a scientist.
264
00:12:25,549 --> 00:12:27,351
- Bill's specialtywas kind of psychology
265
00:12:27,418 --> 00:12:30,054
and Dan was really intothe ghost stuff.
266
00:12:30,121 --> 00:12:33,157
I was a theoretical physicist,and we'd been hoping to see
267
00:12:33,224 --> 00:12:35,326
something real and it seemed
like a great way to start,
268
00:12:35,393 --> 00:12:38,062
by seeing that first
real manifestation
269
00:12:38,129 --> 00:12:39,430
and the way we experienced it
270
00:12:39,497 --> 00:12:41,867
and then providing
practical explanations
271
00:12:41,932 --> 00:12:43,467
and creating the business.
272
00:12:44,969 --> 00:12:47,672
It looked like it was going
to be funny and beyond that,
273
00:12:47,739 --> 00:12:49,440
it looked like it was going
to be really fun to do.
274
00:12:49,507 --> 00:12:51,509
- I think we'll take it.
- Good.
275
00:12:55,079 --> 00:12:56,782
- You know, I was just lookingfor the very best people
276
00:12:56,848 --> 00:12:58,349
that could deliver this movie
277
00:12:58,416 --> 00:13:00,017
that was much bigger than
anything
278
00:13:00,084 --> 00:13:01,787
I had done in the past.
279
00:13:01,853 --> 00:13:03,254
- I was already working
for Ivan,
280
00:13:03,320 --> 00:13:04,989
my first film
was "Heavy Metal,"
281
00:13:05,055 --> 00:13:07,425
and he came to trust meas a producer,
282
00:13:07,491 --> 00:13:09,193
and I was teamedwith Joe Medjuck
283
00:13:09,260 --> 00:13:10,796
and we made a good team,
284
00:13:10,862 --> 00:13:12,631
focusing on different areas.
285
00:13:12,697 --> 00:13:15,599
But most of my focus in
"Heavy Metal"
286
00:13:15,667 --> 00:13:17,301
was design and animation.
287
00:13:17,368 --> 00:13:20,171
- A trip beyond the future
288
00:13:20,237 --> 00:13:22,973
to a universeyou've never seen before.
289
00:13:23,040 --> 00:13:26,210
- By the time "Ghostbusters"came around, because animation
290
00:13:26,277 --> 00:13:29,079
and special effects
are often...
291
00:13:29,146 --> 00:13:30,514
- And we actually as a result
292
00:13:30,581 --> 00:13:32,082
began working
in special effects
293
00:13:32,149 --> 00:13:34,585
while the guys were still
writing the script.
294
00:13:34,653 --> 00:13:37,823
- Ivan was making a comedy
first, not an effects movie,
295
00:13:37,889 --> 00:13:40,659
so getting the effects worktogether was
296
00:13:40,725 --> 00:13:42,460
difficult in this time period
297
00:13:42,526 --> 00:13:46,330
because Ivan was promising itin almost half the time that
298
00:13:46,397 --> 00:13:48,966
anyone at that time
was spending
299
00:13:49,033 --> 00:13:50,434
on a special effects movie.
300
00:13:50,501 --> 00:13:54,305
We had never done a special
effects movie, and there was
301
00:13:54,371 --> 00:13:57,608
no special effects house
in town who could take it on.
302
00:13:57,676 --> 00:13:59,845
- What we did was we went
Richard Edlund who had been
303
00:13:59,911 --> 00:14:02,714
at ILM, we knew he wanted
to set up his own company.
304
00:14:04,548 --> 00:14:08,619
- I was in hospital,getting a back surgery
305
00:14:08,687 --> 00:14:12,958
after having just lost
a project with Ridley Scott
306
00:14:13,023 --> 00:14:14,659
that he'd gone to England.
307
00:14:14,726 --> 00:14:17,461
I got a callfrom Don Shay first
308
00:14:17,528 --> 00:14:20,632
and then Michael Grossto do "Ghostbusters."
309
00:14:20,699 --> 00:14:21,999
Within a day of that,
310
00:14:22,066 --> 00:14:23,935
I'd gotten another call
from Peter Hyams
311
00:14:24,001 --> 00:14:25,236
to do "2010."
312
00:14:25,302 --> 00:14:26,838
- He already hadan Academy Award
313
00:14:26,905 --> 00:14:28,372
and he already had the skills.
314
00:14:28,439 --> 00:14:31,609
Two studios kicked in the cash
and built a studio,
315
00:14:31,676 --> 00:14:33,344
including building some cameras
from scratch.
316
00:14:33,410 --> 00:14:34,679
- So it was very funny;
317
00:14:34,746 --> 00:14:35,947
whenever we were visiting
they would cover up
318
00:14:36,013 --> 00:14:37,214
all the stuff on "2010."
319
00:14:37,281 --> 00:14:39,250
- I'd worked for Richardon "Poltergeist"
320
00:14:39,316 --> 00:14:40,986
and then "Return of the Jedi."
321
00:14:41,051 --> 00:14:44,255
When we worked on that film, he
had asked, you know, "I'm going
322
00:14:44,321 --> 00:14:46,090
to start a company,
would you like to join me?"
323
00:14:46,156 --> 00:14:47,625
Which was, of course.
324
00:14:47,692 --> 00:14:49,293
- They rented a spacedown in Marina del Rey
325
00:14:49,360 --> 00:14:52,463
and Michael hireda lot of conceptual artists
326
00:14:52,530 --> 00:14:55,599
and comic book artists
to start drawing ghosts.
327
00:14:55,667 --> 00:14:57,368
- And because of my history
with "Heavy Metal,"
328
00:14:57,434 --> 00:14:59,136
I said we could dothe same thing here.
329
00:14:59,203 --> 00:15:02,072
Let's tap resources that haveno film history, and then
330
00:15:02,139 --> 00:15:04,843
we'll figure out if they canbe implemented for film,
331
00:15:04,910 --> 00:15:06,711
on top of which is a comedy.
332
00:15:06,778 --> 00:15:09,714
So, should there be
funny ghosts?
333
00:15:09,781 --> 00:15:12,349
Richard had these drawingsand concepts submitted to Ivan
334
00:15:12,416 --> 00:15:14,351
and said, "No, not that way,no, not that way.
335
00:15:14,418 --> 00:15:16,253
Look at this way."
336
00:15:16,320 --> 00:15:17,521
Then we'd bringin the effects people
337
00:15:17,588 --> 00:15:19,290
and say, we went furtherwith this.
338
00:15:19,356 --> 00:15:21,258
How would you
make it a reality?
339
00:15:21,325 --> 00:15:25,396
So implementing those
was very much my job.
340
00:15:25,462 --> 00:15:26,965
- I mean, the first thing
I was trying to do was
341
00:15:27,032 --> 00:15:30,334
to build the technology up
real quick so that we could
342
00:15:30,401 --> 00:15:32,037
actually produce the movie.
343
00:15:32,102 --> 00:15:35,372
And I had made a deal with Doug
Trumbull to take over a studio
344
00:15:35,439 --> 00:15:39,143
in LA which had a lot of65-millimeter equipment,
345
00:15:39,209 --> 00:15:40,745
but it was just kind of
laying around
346
00:15:40,812 --> 00:15:43,648
and it was like a parts bin.
- Right.
347
00:15:43,715 --> 00:15:46,651
- And so I had to bring in
engineers, machinists.
348
00:15:46,718 --> 00:15:48,419
- The animation departmentwas
349
00:15:48,485 --> 00:15:50,822
basicallyjust a big warehouse.
350
00:15:50,889 --> 00:15:54,258
They were literally building
and with Thaine and the guys
351
00:15:54,325 --> 00:15:57,762
were building tables
at night and shelves
352
00:15:57,829 --> 00:15:59,965
and animation discs
and various...
353
00:16:01,766 --> 00:16:04,268
The camera wasn't computerized,
it was a giant Oxberry, I mean,
354
00:16:04,335 --> 00:16:08,439
it was just--it was, like he
said, it was just parts.
355
00:16:08,505 --> 00:16:11,408
- And while the lawyers were
skirmishing, we had only
356
00:16:11,475 --> 00:16:15,847
10 months to go until release,
and at that time, in '83,
357
00:16:15,914 --> 00:16:19,316
it was budgeted at $5 millionfor visual effects,
358
00:16:19,383 --> 00:16:21,953
which was a really big effects
budget in those days,
359
00:16:22,020 --> 00:16:24,923
and we were working withincredible talents
360
00:16:24,990 --> 00:16:26,891
like John DeCuir who was like
361
00:16:26,958 --> 00:16:29,193
one of the great productiondesigners of all time
362
00:16:29,259 --> 00:16:32,864
and Laszlo Kovacs
who became my lifelong friend.
363
00:16:32,931 --> 00:16:36,166
- Laszlo was a dream, he wasa wonderful, wonderful man,
364
00:16:36,233 --> 00:16:38,369
very kind, very generous,
came over here
365
00:16:38,435 --> 00:16:40,604
in the Hungarian Revolution
in 1956,
366
00:16:40,672 --> 00:16:44,508
and has a warmth about himthat's irreplaceable.
367
00:16:44,575 --> 00:16:47,045
- We got started before we
were supposed to start shooting
368
00:16:47,112 --> 00:16:50,180
and we said, let's go toNew York and do some scouting.
369
00:16:50,247 --> 00:16:53,350
- I remember the first day was
technically a pre-production day
370
00:16:53,417 --> 00:16:55,519
because I was trying to get
decent weather
371
00:16:55,586 --> 00:16:57,588
in New York City in Manhattan.
372
00:16:57,656 --> 00:16:59,490
Our official start of
principal photography
373
00:16:59,556 --> 00:17:02,060
was the end of October.
374
00:17:02,127 --> 00:17:05,063
I thought, well, let's do a few
days of pre-production shooting
375
00:17:05,130 --> 00:17:08,332
while we have most of the cast
and crew around anyway
376
00:17:08,399 --> 00:17:10,035
and we're doingcostume fittings,
377
00:17:10,101 --> 00:17:11,235
we're doing rehearsals,
378
00:17:11,301 --> 00:17:12,671
you know, people are going out
379
00:17:12,737 --> 00:17:15,073
and buying equipment and
the designers are setting up.
380
00:17:15,140 --> 00:17:17,676
Let's just get out on
the street and do some stuff.
381
00:17:17,742 --> 00:17:20,779
- Someone's doing a standupnewscast in the street
382
00:17:20,845 --> 00:17:23,380
and there's a guy behind himplaying with his beard,
383
00:17:23,447 --> 00:17:25,516
and I think that was
the first thing we shot.
384
00:17:25,582 --> 00:17:29,120
- The first day shooting wasa car crash because
385
00:17:29,186 --> 00:17:32,957
some skeleton-like ghost hadtaken over a taxi cab,
386
00:17:33,024 --> 00:17:35,927
so we did a stunt
the very first day of shooting.
387
00:17:35,994 --> 00:17:38,697
- The animatronic cab driver
wasn't even done at Boss Film.
388
00:17:38,763 --> 00:17:40,699
It was basically my auditionbecause when I met
389
00:17:40,765 --> 00:17:43,300
Richard Edlund and all
the higher ups at Boss Film,
390
00:17:43,367 --> 00:17:45,502
they said,"Okay, we got two weeks--
391
00:17:45,569 --> 00:17:48,405
"we have to be in New YorkCity on location filming
392
00:17:48,472 --> 00:17:52,342
"a fully animatronic
zombie cab driver.
393
00:17:52,409 --> 00:17:54,244
"You go away and make it,
394
00:17:54,311 --> 00:17:55,612
"and then go to New Yorkand shoot it
395
00:17:55,680 --> 00:17:57,581
and if it works,you could do the job."
396
00:17:57,649 --> 00:18:01,218
And so I really did everything
on my own, I small printed,
397
00:18:01,285 --> 00:18:03,387
I did the engineering on it,I did the hair work,
398
00:18:03,454 --> 00:18:04,354
I did the paint,I did everything,
399
00:18:04,421 --> 00:18:05,456
and it went really well--
400
00:18:05,522 --> 00:18:06,423
it was actually a lot of fun.
401
00:18:06,490 --> 00:18:07,892
I went back and they said,
402
00:18:07,959 --> 00:18:10,929
"Okay, now you have a year of
torture ahead of you."
403
00:18:13,098 --> 00:18:15,499
- And part of that day ofshooting, I said, well,
404
00:18:15,566 --> 00:18:17,367
let's get a shot
for the montage
405
00:18:17,434 --> 00:18:18,670
where they get more successful.
406
00:18:18,737 --> 00:18:20,672
- I had never worked
in the heart of Manhattan.
407
00:18:20,739 --> 00:18:22,439
So there they were,all set up,
408
00:18:22,506 --> 00:18:24,075
and I got into the jumpsuit
409
00:18:24,142 --> 00:18:27,011
for the first timeand went out there and,
410
00:18:27,078 --> 00:18:30,115
wow, this is really cool, I
mean, we kind of own the city.
411
00:18:30,181 --> 00:18:34,152
- So I'm busy sort of setting
up some cameras, and I look up
412
00:18:34,219 --> 00:18:37,088
and suddenly coming at me
are the three Ghostbusters
413
00:18:37,155 --> 00:18:38,857
in full regalia,
414
00:18:38,923 --> 00:18:40,759
and it was such a startling
image and it was such
415
00:18:40,825 --> 00:18:42,761
an original image,
and I just got
416
00:18:42,827 --> 00:18:44,963
this wonderful shiverdown my back.
417
00:18:45,029 --> 00:18:47,665
It was just a great
first moment on the movie.
418
00:18:47,732 --> 00:18:49,533
- I actually,
in all honesty,
419
00:18:49,600 --> 00:18:51,268
had never really produced
a movie before.
420
00:18:51,335 --> 00:18:54,873
- Here I am, associateproducing "Ghostbusters."
421
00:18:54,939 --> 00:18:57,474
I had never been on
a movie set before,
422
00:18:57,541 --> 00:19:00,611
and because my first film
was animated,
423
00:19:00,678 --> 00:19:02,881
I didn't entirely know
how it all worked.
424
00:19:02,947 --> 00:19:04,949
I'm fessing up to this
for the first time.
425
00:19:05,016 --> 00:19:07,852
- I remember at one point I was
on the street with 300 extras,
426
00:19:07,919 --> 00:19:10,255
yelling "Ghostbusters,"
and I thought I better learn
427
00:19:10,320 --> 00:19:11,488
to do this really fast.
428
00:19:11,555 --> 00:19:12,857
- And I came on the set,
429
00:19:12,924 --> 00:19:15,226
having to pretendI knew everything,
430
00:19:15,292 --> 00:19:16,828
and it says "Producer,"
431
00:19:16,895 --> 00:19:20,265
and I see my chair and my name,
you know?
432
00:19:20,330 --> 00:19:22,599
And I go, mm-hmm, and I--
433
00:19:22,667 --> 00:19:24,501
I'm looking around
and I didn't know
434
00:19:24,568 --> 00:19:26,938
where to stand, I didn't knowhalf their jobs.
435
00:19:27,005 --> 00:19:29,373
And somebody came to me andsaid, "Tell me something that
436
00:19:29,439 --> 00:19:30,875
has to be done,"and they said,
437
00:19:30,942 --> 00:19:32,277
"You better tell the FirstAssistant Director,"
438
00:19:32,342 --> 00:19:34,712
um, well, do that.
439
00:19:34,779 --> 00:19:38,515
And I had to find out how
I could find out who and what
440
00:19:38,582 --> 00:19:41,886
a First Assistant Director was
without letting on
441
00:19:41,953 --> 00:19:43,822
that I had no idea
what I was doing.
442
00:19:43,888 --> 00:19:46,291
- Probably had I understoodhow big it was
443
00:19:46,356 --> 00:19:48,259
and how difficult it was,
I would've been more effective
444
00:19:48,325 --> 00:19:50,360
than I was because I'd never
done it before, I thought, hey,
445
00:19:50,427 --> 00:19:52,030
this is what movies are like.
446
00:19:52,096 --> 00:19:54,531
You always have thousands of
extras and special effects
447
00:19:54,598 --> 00:19:56,067
and a deadline to make.
448
00:19:56,134 --> 00:19:58,870
- I had more than one producer
who never knew his ass
449
00:19:58,937 --> 00:20:01,105
from a hole in the ground,
and I know there were people
450
00:20:01,172 --> 00:20:03,340
on that film who went,"There's the asshole producer
451
00:20:03,407 --> 00:20:05,210
who doesn't knowwhat he's doing."
452
00:20:05,276 --> 00:20:07,979
But, fortunately,
I got through it.
453
00:20:12,616 --> 00:20:14,451
- The very first noteof music you hear
454
00:20:14,518 --> 00:20:18,323
is the blazeof light from the star...
455
00:20:21,292 --> 00:20:25,096
There was a revolutionary
synthesizer being released
456
00:20:25,163 --> 00:20:26,698
at that time called the DX7
457
00:20:26,764 --> 00:20:28,800
and it was the firstfully digital synth,
458
00:20:28,867 --> 00:20:31,970
and the very first note
is a factory programmed sound
459
00:20:32,036 --> 00:20:35,472
on this DX7, they're impossible
to get, and we managed
460
00:20:35,539 --> 00:20:38,475
to procure one of
these synthesizers--
461
00:20:38,542 --> 00:20:42,347
God only knows
what had to happen.
462
00:20:42,412 --> 00:20:43,781
- Elmer Bernstein is a genius,
463
00:20:43,848 --> 00:20:46,251
he did a beautiful job
on the score.
464
00:20:46,317 --> 00:20:49,287
- That particular"Ghostbusters" theme
465
00:20:49,354 --> 00:20:53,590
that he wrote...
466
00:20:53,658 --> 00:20:57,561
...was a style that hehad been tinkering with,
467
00:20:57,629 --> 00:20:59,496
so because I had beenalong for the ride
468
00:20:59,563 --> 00:21:00,798
on a number of films,
469
00:21:00,865 --> 00:21:03,567
I got to see
that particular style evolve
470
00:21:03,635 --> 00:21:06,503
into a full-blown
thematic piece.
471
00:21:06,570 --> 00:21:09,539
- He created this
very special classical sound
472
00:21:09,606 --> 00:21:12,844
for that broad comedy sciencefiction film that has this
473
00:21:12,911 --> 00:21:15,512
sort of very historical,romantic,
474
00:21:15,579 --> 00:21:17,882
full orchestra score to it.
475
00:21:17,949 --> 00:21:19,516
I don't think the movie
would've worked
476
00:21:19,583 --> 00:21:22,754
without his score.
477
00:21:22,820 --> 00:21:24,856
- My introductionto this whole escapade
478
00:21:24,923 --> 00:21:27,424
was the audition...
Square.
479
00:21:27,491 --> 00:21:29,861
And I looked to this side of
me and there was this actor
480
00:21:29,928 --> 00:21:33,665
chewing gum, just wildly
chewing gum, and I was like,
481
00:21:33,731 --> 00:21:36,267
"Do you have any more gum?"
482
00:21:36,334 --> 00:21:38,169
And he goes, "Yeah."
483
00:21:38,236 --> 00:21:40,638
Little did he know
he handed me the part.
484
00:21:40,705 --> 00:21:42,572
- I got the scriptand I read it
485
00:21:42,640 --> 00:21:45,310
and the ectoplasmand the blood,
486
00:21:45,376 --> 00:21:50,148
whatever, and the Stay Puft
Marsh--I kind of was like,
487
00:21:50,214 --> 00:21:51,816
what the heck is this movie?
488
00:21:51,883 --> 00:21:54,919
- They called me inand we're doing the scene,
489
00:21:54,986 --> 00:21:57,188
and the gum fliesout of my mouth.
490
00:21:58,656 --> 00:22:02,827
And the whole room erupts
491
00:22:02,894 --> 00:22:07,131
in this thunderous laughter,
but uncontrollable laughter,
492
00:22:07,198 --> 00:22:12,403
and I am biting my tongue
so hard to not laugh--
493
00:22:12,469 --> 00:22:15,840
I am digging into
some holy place within to
494
00:22:15,907 --> 00:22:19,476
not crack up, because they're
all laughing, I'm in tears.
495
00:22:19,543 --> 00:22:22,113
- The university, as everyonenow knows, is Columbia,
496
00:22:22,180 --> 00:22:24,282
we sawthese Columbia landmarks,
497
00:22:24,349 --> 00:22:26,250
but Columbia wouldn't
let us use the name.
498
00:22:26,317 --> 00:22:28,820
- I arrive and I'm lookingaround and I'm going, okay,
499
00:22:28,886 --> 00:22:30,688
there's the table
and I'm looking for, like,
500
00:22:30,755 --> 00:22:32,457
where's the electronic
equipment to shock me?
501
00:22:32,522 --> 00:22:34,826
I don't like this.
502
00:22:34,892 --> 00:22:37,527
And I'm like, what the hell
kind of budget film is this?
503
00:22:37,594 --> 00:22:40,198
- I got up that morning, I knew
we were shooting that day,
504
00:22:40,264 --> 00:22:41,833
and went to the set
505
00:22:41,899 --> 00:22:44,068
and I was dressed in justthe clothes I'd worn,
506
00:22:44,135 --> 00:22:46,104
and they were like,
"Oh, you look fine.
507
00:22:46,170 --> 00:22:48,339
"Oh, you look great, yeah,
you don't need your hair done,
508
00:22:48,406 --> 00:22:50,441
you don't need makeup,
you don't need wardrobe."
509
00:22:50,507 --> 00:22:51,943
And I'm like, really?
510
00:22:52,010 --> 00:22:56,180
- I basically, like, pinched
the hell out of myself
511
00:22:56,247 --> 00:22:58,983
every time
that we had to do a shock.
512
00:22:59,050 --> 00:23:02,120
I go into the restroom
and I basically got, like,
513
00:23:02,186 --> 00:23:05,390
the continent of Africa
in purple...
514
00:23:05,456 --> 00:23:10,594
all up my leg, with a big,
blue River Nile vein
515
00:23:10,661 --> 00:23:12,430
moving right through it.
516
00:23:12,497 --> 00:23:14,799
- So I-I've always wished
517
00:23:14,866 --> 00:23:18,302
I had blow-dried my hair
better that day.
518
00:23:18,369 --> 00:23:23,708
- And Laszlo walks in,
and he goes, "Good God!"
519
00:23:23,775 --> 00:23:26,610
- It's amazinghow many people remember me
520
00:23:26,677 --> 00:23:29,480
from being that librarian.
521
00:23:29,546 --> 00:23:33,317
But--oh, I remember
the real librarian came around
522
00:23:33,384 --> 00:23:34,786
and she looked at meand she said,
523
00:23:34,852 --> 00:23:37,822
"Oh, they always make us
look like that."
524
00:23:37,889 --> 00:23:40,191
Isn't that terrible?
525
00:23:40,258 --> 00:23:42,994
- We played with differentopenings for a while
526
00:23:43,061 --> 00:23:45,196
before we settledon the library opening;
527
00:23:45,263 --> 00:23:46,731
we played withdifferent versions of that,
528
00:23:46,798 --> 00:23:49,000
all of which were promising
and kind of funny,
529
00:23:49,067 --> 00:23:51,669
but the library
was really good.
530
00:23:51,736 --> 00:23:53,805
I think I can take creditfor that.
531
00:23:53,871 --> 00:23:56,207
- I hope we can clear this up
quickly and quietly.
532
00:23:56,274 --> 00:23:58,743
- I was actually working
in the New York Public Library
533
00:23:58,810 --> 00:24:01,379
on a writing projectand I looked up
534
00:24:01,446 --> 00:24:04,048
and saw Bill Murray and Ramis,
535
00:24:04,115 --> 00:24:05,983
they were scoutingthe location,
536
00:24:06,050 --> 00:24:07,819
and I remember looking at them
537
00:24:07,885 --> 00:24:09,287
and thinking, I wonder
what they're doing here.
538
00:24:09,353 --> 00:24:12,622
- I know how I got it too--
it was my scream.
539
00:24:14,992 --> 00:24:17,095
I had a wonderful scream.
540
00:24:17,161 --> 00:24:19,797
They said, "Suppose a ghost
were coming at you.
541
00:24:19,864 --> 00:24:22,867
What would you do?"and I screamed.
542
00:24:22,934 --> 00:24:27,171
He laughed and said, okay,
the part's yours.
543
00:24:27,238 --> 00:24:29,440
- The call time was about
5:30 in the morning
544
00:24:29,507 --> 00:24:31,809
and I was in the makeup trailer
with Bill Murray
545
00:24:31,876 --> 00:24:33,377
who obviously had not been to
bed,
546
00:24:33,444 --> 00:24:36,380
and when I told peopleabout it was--
547
00:24:36,447 --> 00:24:39,951
and I swear this is true--
they were much funnier, I mean,
548
00:24:40,017 --> 00:24:43,287
what was going on betweenthose guys
549
00:24:43,354 --> 00:24:45,756
from the minute
that you open up the door
550
00:24:45,823 --> 00:24:47,525
to the makeup trailer
until, you know,
551
00:24:47,592 --> 00:24:49,827
the end of the day,
was so hilarious.
552
00:24:49,894 --> 00:24:52,029
And that's almostintimidating,
553
00:24:52,096 --> 00:24:55,199
that they were able to bethat connected to each other,
554
00:24:55,266 --> 00:24:57,401
and of course,
that's the relationship between
555
00:24:57,468 --> 00:24:59,203
the librarian and the
Ghostbusters, anyway.
556
00:24:59,270 --> 00:25:01,372
- The idea was we could
only shoot in the morning
557
00:25:01,439 --> 00:25:03,341
before it really opened, and
so we were supposed to be in
558
00:25:03,407 --> 00:25:05,376
from six to 10 for two daysin a row,
559
00:25:05,443 --> 00:25:08,179
and Ivan was really on a roll,
we completed all that
560
00:25:08,246 --> 00:25:10,248
in under four hours
and didn't know
561
00:25:10,314 --> 00:25:13,518
what to shoot, so I think we
broke for lunch and then shot
562
00:25:13,584 --> 00:25:16,254
a scene we were supposed to
shoot a couple of days later.
563
00:25:16,320 --> 00:25:18,389
- We shot the exterior firstwhen we were in New York,
564
00:25:18,456 --> 00:25:19,290
and we used the reading room
565
00:25:19,357 --> 00:25:21,159
of the New YorkPublic Library.
566
00:25:21,225 --> 00:25:24,695
So the scenes where we just
entered and, I guess,
567
00:25:24,762 --> 00:25:29,534
Egon is, for some reason, under
a table with a stethoscope,
568
00:25:29,600 --> 00:25:32,170
listening at a tablefor God knows why.
569
00:25:32,236 --> 00:25:35,406
- They were stopping traffic on
Fifth Avenue to do this scene,
570
00:25:35,473 --> 00:25:37,675
and there was a guy
who's like a street preacher
571
00:25:37,742 --> 00:25:41,913
who was praying all morn--he
had this--he was standing on
572
00:25:41,979 --> 00:25:43,714
a soapbox and he was going,
573
00:25:43,781 --> 00:25:47,251
"All you Hollywood
are going to hell!
574
00:25:47,318 --> 00:25:48,986
You're going to--"
and, you know, they made--
575
00:25:49,053 --> 00:25:50,922
the production had to go
and pay him off.
576
00:25:50,988 --> 00:25:54,959
- And then you wait weeks
to pick it up in Los Angeles
577
00:25:55,026 --> 00:25:56,527
in the Los AngelesPublic Library,
578
00:25:56,594 --> 00:25:59,230
which was us goinginto the private spaces
579
00:25:59,297 --> 00:26:01,532
of the library wherethe public are not allowed.
580
00:26:01,599 --> 00:26:03,901
Movies always have
that kind of discontinuity
581
00:26:03,968 --> 00:26:05,469
when you're shooting them.
582
00:26:05,536 --> 00:26:08,506
- And Ivan Reitman, of course,the director on that,
583
00:26:08,573 --> 00:26:12,343
when I was supposed to seethe ghost for the first time,
584
00:26:12,410 --> 00:26:15,947
you know, he's not a scary man,
he was trying to scare me,
585
00:26:16,013 --> 00:26:17,748
so he'd just go like that.
586
00:26:17,815 --> 00:26:20,251
- Ivan's directions were
simple and concise--
587
00:26:20,318 --> 00:26:22,688
look scaredand look more scared.
588
00:26:22,753 --> 00:26:25,523
- You know, that's acting.
589
00:26:25,590 --> 00:26:27,792
- An awful lot of the effects
in that sequence
590
00:26:27,858 --> 00:26:30,061
are practical effects,
they're not opticals.
591
00:26:30,127 --> 00:26:32,129
- You know, like the cards
flipping out
592
00:26:32,196 --> 00:26:34,398
and the slime coming
down the walls.
593
00:26:34,465 --> 00:26:37,368
- So the cards are actually
sent off into the air by little
594
00:26:37,435 --> 00:26:39,270
air jets that were hiddenin all the drawers,
595
00:26:39,337 --> 00:26:41,205
so the drawers openand the air jets came on,
596
00:26:41,272 --> 00:26:43,541
books going back and forth
from shelf to shelf,
597
00:26:43,608 --> 00:26:46,410
those were hung on wires.
598
00:26:46,477 --> 00:26:48,813
- You know, when they findthe vertically stacked books,
599
00:26:48,879 --> 00:26:51,082
that was an idea Ivan had
on the way to work.
600
00:26:51,148 --> 00:26:53,217
I think Danny
came up with the line.
601
00:26:53,284 --> 00:26:55,553
- Symmetrical book stacking--just like the Philadelphia
602
00:26:55,620 --> 00:26:58,189
mass turbulence of 1947.
603
00:26:58,256 --> 00:27:01,492
...do exactly as I say.
604
00:27:01,559 --> 00:27:04,595
Get ready, ready--go!
605
00:27:06,397 --> 00:27:09,166
- The librarian
was a really interesting task
606
00:27:09,233 --> 00:27:12,536
because in one shot, and I guess
ultimately it was supposed to be
607
00:27:12,603 --> 00:27:15,373
about 36 frames--a second and a half.
608
00:27:15,439 --> 00:27:17,643
- It's the first big scare of
the movie and I think it was
609
00:27:17,709 --> 00:27:21,012
imperative to have a good scare
versus a comedic scare.
610
00:27:23,047 --> 00:27:26,350
- An Old One transforms intothe most hideous, scary beast
611
00:27:26,417 --> 00:27:29,487
that any of us therecould imagine.
612
00:27:29,553 --> 00:27:31,188
Like, how do you do this?
613
00:27:31,255 --> 00:27:33,024
Well, I'll make
the change over thing.
614
00:27:33,090 --> 00:27:35,226
Take a replica of a human
and actually put
615
00:27:35,293 --> 00:27:37,795
pneumatic devices in itand make it distort.
616
00:27:37,862 --> 00:27:40,231
Everything I did on that film
I wanted to walk a tightrope
617
00:27:40,298 --> 00:27:43,567
between utter failure and
soaring success, so I thought,
618
00:27:43,635 --> 00:27:45,536
okay, I can try it my way
619
00:27:45,603 --> 00:27:48,139
and completely fuck it up
or just not try it at all.
620
00:27:48,205 --> 00:27:51,175
- In ways I was likea maitre-d at a restaurant.
621
00:27:51,242 --> 00:27:56,013
That it was my job to make sure
everything went okay and that
622
00:27:56,080 --> 00:27:57,683
all of the people at the table
623
00:27:57,749 --> 00:28:00,686
had what they need to havea good time.
624
00:28:00,752 --> 00:28:02,253
I had to set up an environment
625
00:28:02,320 --> 00:28:04,455
where they could dothe best work they could.
626
00:28:04,522 --> 00:28:07,258
- Most of what I did to start
with was to build a mock-up.
627
00:28:07,325 --> 00:28:11,529
We had the Foametix skins and
I would take a simple PVC pipe,
628
00:28:11,595 --> 00:28:14,031
bend wooden sticks,glue wooden screws,
629
00:28:14,098 --> 00:28:15,433
and put something together
630
00:28:15,499 --> 00:28:17,535
with our first rough skinson a mold,
631
00:28:17,601 --> 00:28:19,638
which were copiesof the original actress.
632
00:28:19,705 --> 00:28:22,808
- I want her head to lower,I want her shoulders to rise,
633
00:28:22,873 --> 00:28:25,276
I want her deltoid or her bicep
to elongate from here
634
00:28:25,343 --> 00:28:28,913
to her wrist, to elongate,
her fingers to grow.
635
00:28:28,979 --> 00:28:30,548
I want her mouth to get bigger.
636
00:28:30,614 --> 00:28:33,117
I want her head to flatten,I want to do something again,
637
00:28:33,184 --> 00:28:35,319
specifically,for this six frame shot,
638
00:28:35,386 --> 00:28:37,054
I mean, come on,
you're not gonna get it
639
00:28:37,121 --> 00:28:38,989
if it's just going...
640
00:28:39,056 --> 00:28:42,193
- Rolling,do your bad thing.
641
00:28:42,259 --> 00:28:43,327
- As we're building it,I thought,
642
00:28:43,394 --> 00:28:44,995
we cannot control this,you know,
643
00:28:45,062 --> 00:28:47,666
probably have tohave 30 puppeteers,
644
00:28:47,733 --> 00:28:50,134
yet those 30 puppeteers
645
00:28:50,201 --> 00:28:53,437
have to hit their marks when
the director says "action,"
646
00:28:53,504 --> 00:28:55,906
for a second and a halfthey have to do it exactly
647
00:28:55,973 --> 00:28:58,209
and then it would never work,I knew that wouldn't work.
648
00:28:58,275 --> 00:29:00,044
- I actually had to go outside
our group of people
649
00:29:00,111 --> 00:29:02,113
to get someone to mechanize--
650
00:29:02,179 --> 00:29:04,115
- And I said, look,
here's our problem,
651
00:29:04,181 --> 00:29:05,916
I want all these things
to happen,
652
00:29:05,983 --> 00:29:07,753
but they have to happen
really quickly
653
00:29:07,819 --> 00:29:09,954
and they have to happen
in tandem, in concert,
654
00:29:10,020 --> 00:29:11,489
like a symphony.
655
00:29:11,555 --> 00:29:13,357
- The mechanic,John Alberti,
656
00:29:13,424 --> 00:29:15,794
gave him the mockup and said,
"This is what Steve wants.
657
00:29:15,861 --> 00:29:19,196
You can see how far this
pushes, how far that raises."
658
00:29:19,263 --> 00:29:21,633
- It has to be the way you
and I worked it out
659
00:29:21,700 --> 00:29:23,234
for months ahead in advance--
660
00:29:23,300 --> 00:29:25,102
this has to change them,
this has to turn that,
661
00:29:25,169 --> 00:29:26,772
this has to do that.
662
00:29:26,838 --> 00:29:28,673
- And he then could then takemeasurements and then base
663
00:29:28,740 --> 00:29:30,374
his mechanical understructure
664
00:29:30,441 --> 00:29:32,644
to move the rubber,
based on that.
665
00:29:32,711 --> 00:29:34,178
- The eye was genius.
666
00:29:34,245 --> 00:29:37,214
He figured it out so thatyou--that one puppeteer,
667
00:29:37,281 --> 00:29:42,520
one puppeteer--you could
sit back with a beer, smoking
668
00:29:42,586 --> 00:29:44,955
a cigarette, and the director
would say "action"
669
00:29:45,022 --> 00:29:47,158
and just go...
670
00:29:47,224 --> 00:29:48,827
There's your librarian ghost.
671
00:29:51,595 --> 00:29:53,832
- There was going to be a second
stage to the transformation
672
00:29:53,899 --> 00:29:57,034
that would push out her muzzle
and there was these sharp,
673
00:29:57,101 --> 00:29:58,670
like, monster-y teeth.
674
00:29:58,737 --> 00:30:00,538
There's a lot of stillsaround of me
675
00:30:00,604 --> 00:30:03,507
sculpting the arms ofthis demon coming forward
676
00:30:03,574 --> 00:30:05,142
and then Steve Johnsonhad sculpted the head
677
00:30:05,209 --> 00:30:07,244
for that based off ofwhat we had done
678
00:30:07,311 --> 00:30:09,613
for the first part
of the transformation.
679
00:30:09,681 --> 00:30:11,917
- And then Richard was like,"No, no second puppet.
680
00:30:11,982 --> 00:30:15,854
No second puppet, don't break
the bank, Stevie, boy."
681
00:30:15,921 --> 00:30:18,723
And I'm like, but it's almost
done, it'll be so much better!
682
00:30:18,790 --> 00:30:21,425
He's like, "This is 36 frames,
leave it, just leave it."
683
00:30:21,492 --> 00:30:23,895
- It was the right decision
because it's a great moment,
684
00:30:23,961 --> 00:30:26,597
it happens fast and it hasthe effect it needs.
685
00:30:31,569 --> 00:30:33,537
- We were working on this film
for quite a long time
686
00:30:33,604 --> 00:30:35,674
and someone said, you know,
there's a TV show called
687
00:30:35,740 --> 00:30:37,208
"Ghost Busters"
which I didn't know.
688
00:30:37,274 --> 00:30:39,109
- ♪ We're Ghost Busters ♪
689
00:30:39,176 --> 00:30:40,745
- I'm Spencer, he's Tracy.
- I'm Carl.
690
00:30:40,812 --> 00:30:43,180
- The title was owned by
a company called Filmation
691
00:30:43,247 --> 00:30:44,883
that mainly made cartoons.
692
00:30:44,950 --> 00:30:46,417
When we started shooting,
693
00:30:46,484 --> 00:30:48,452
Columbia didn't want to make
a deal with them,
694
00:30:48,519 --> 00:30:50,889
so we thought it might be
called "Ghost Breakers."
695
00:30:50,956 --> 00:30:52,824
- Ghost Blasters?
696
00:30:52,891 --> 00:30:53,991
- Blasters.
- Blasters.
697
00:30:54,058 --> 00:30:55,526
Ghost Blasters.
698
00:30:55,593 --> 00:30:57,094
Ghost Stoppers.
699
00:30:57,161 --> 00:31:00,531
We're ready to believe you.
700
00:31:00,598 --> 00:31:03,835
- Now we're good, keep yourfocus right on the lens.
701
00:31:03,902 --> 00:31:05,503
- We're dying!
702
00:31:05,569 --> 00:31:08,072
- For a while we had all these
stamps we were supposed to use
703
00:31:08,138 --> 00:31:10,341
for lab reportsand stuff like that
704
00:31:10,407 --> 00:31:12,142
and we had all thesedifferent names.
705
00:31:12,209 --> 00:31:14,278
- We were doing one scenewhere we had to put a sign up,
706
00:31:14,345 --> 00:31:16,681
it said "Ghostbusters"and then "Ghostbreakers,"
707
00:31:16,748 --> 00:31:19,483
and that's when I phoned them
and said, we can't do this,
708
00:31:19,550 --> 00:31:21,285
we'll never finish the movie.
709
00:31:21,352 --> 00:31:22,754
You gotta clear that title.
710
00:31:22,821 --> 00:31:24,689
So they paid some moneyand cleared the title,
711
00:31:24,756 --> 00:31:28,092
but gave Filmation the rightsto use the name "GhostBusters"
712
00:31:28,158 --> 00:31:29,761
in a cartoon show.
713
00:31:29,828 --> 00:31:32,731
- Starts Monday at 3:30,only on channel 11.
714
00:31:34,198 --> 00:31:36,033
- Hey, does this polestill work?
715
00:31:36,100 --> 00:31:37,401
- The firehouse,
we knew we wanted
716
00:31:37,468 --> 00:31:39,103
a decommissioned firehouse.
717
00:31:39,169 --> 00:31:42,573
- The firehouse was found right
on the edge of Soho in New York
718
00:31:42,641 --> 00:31:45,175
in the beginning of Tribeca,there's an intersection
719
00:31:45,242 --> 00:31:46,745
at Varick and North Moore.
720
00:31:46,811 --> 00:31:48,579
- It turns out
that's a style of firehouse
721
00:31:48,647 --> 00:31:50,882
and the exterior of the
firehouse is in New York
722
00:31:50,949 --> 00:31:52,082
and people are
very proud of it,
723
00:31:52,149 --> 00:31:53,584
they drive by it all the time.
724
00:31:53,652 --> 00:31:56,253
But the interior is actuallya very similar firehouse
725
00:31:56,320 --> 00:31:57,989
in downtown Los Angeles.
726
00:31:58,055 --> 00:32:00,759
- Built in the exact same year
as the New York firehouse,
727
00:32:00,825 --> 00:32:02,259
so it was an excellent match.
728
00:32:04,896 --> 00:32:07,264
- The Ghostbusters logo,for instance, was easy.
729
00:32:09,600 --> 00:32:11,502
- Coming to save the world.
730
00:32:11,569 --> 00:32:12,871
- I didn't create that,
I just got it done,
731
00:32:12,938 --> 00:32:14,706
and it was in Danny's script.
732
00:32:14,773 --> 00:32:16,741
For me, it was just getting it
implemented, and it wasn't
733
00:32:16,808 --> 00:32:19,911
a matter of doing a major logo
for a major film
734
00:32:19,978 --> 00:32:21,345
for their ad campaign--
735
00:32:21,412 --> 00:32:23,380
it was to do something
to put on their shirts
736
00:32:23,447 --> 00:32:24,950
and on the signon the side of the car.
737
00:32:25,016 --> 00:32:26,685
And we had a team of artists
738
00:32:26,751 --> 00:32:28,385
already been workingin the effects house.
739
00:32:28,452 --> 00:32:30,187
I went to the oneI knew the best.
740
00:32:30,254 --> 00:32:32,456
- Greg Boats designed the logo.
741
00:32:32,523 --> 00:32:35,125
- And I said, give me versionsof this logo.
742
00:32:37,028 --> 00:32:38,863
And we just handed them overto the art department.
743
00:32:41,700 --> 00:32:45,302
- We wrote this character
of a neighbor
744
00:32:45,369 --> 00:32:48,039
to whoever the womanwas in the building.
745
00:32:48,105 --> 00:32:50,875
- We did want John Candyin the movie, we loved John
746
00:32:50,942 --> 00:32:54,913
and we'd all worked with him,
starting back at Second City.
747
00:32:54,980 --> 00:32:57,716
- In fact, I have storyboardsthat I did for John.
748
00:32:57,782 --> 00:32:59,884
The party sequence where
the terror dog breaks through
749
00:32:59,951 --> 00:33:03,153
the wall and I drew John Candy
through the whole sequence.
750
00:33:03,220 --> 00:33:04,388
- He was a real favoriteof mine
751
00:33:04,455 --> 00:33:05,991
and a good friend
and I remember
752
00:33:06,057 --> 00:33:08,459
calling Candy up and saying,okay, John,
753
00:33:08,525 --> 00:33:09,861
I've got a great part,
754
00:33:09,928 --> 00:33:12,229
and I sent over sort of
the first rough draft
755
00:33:12,296 --> 00:33:14,198
that we threw together
so quickly.
756
00:33:14,264 --> 00:33:16,233
He called back and he said,
"Well,
757
00:33:16,300 --> 00:33:19,104
"I'm thinking of doing him in
a German accent
758
00:33:19,169 --> 00:33:20,839
and he's gotta have dogs."
759
00:33:20,905 --> 00:33:24,375
I said, dogs?
"Yeah, big German shepherds."
760
00:33:24,441 --> 00:33:27,712
I said, but John, you can't
have German shepherds,
761
00:33:27,779 --> 00:33:30,581
you can't have dogs at all
because part of the plot is,
762
00:33:30,649 --> 00:33:32,817
you know, there's these dogs
on the roof and people
763
00:33:32,884 --> 00:33:34,318
are gonna get confused
764
00:33:34,385 --> 00:33:36,420
and the story
is complicated enough.
765
00:33:36,487 --> 00:33:42,226
And he just got adamant that
he had to be a German person
766
00:33:42,292 --> 00:33:45,697
and he had to have
German shepherds.
767
00:33:45,764 --> 00:33:48,399
- John wanted too much money.
768
00:33:48,465 --> 00:33:51,670
He kind of got agented
right out of the movie.
769
00:33:51,736 --> 00:33:54,973
- And Rick Moranis, who wasworking with him on SCTV
770
00:33:55,040 --> 00:33:57,174
and who I knewbecause I'm Canadian
771
00:33:57,241 --> 00:33:58,810
and we all know each other,
772
00:33:58,877 --> 00:34:02,513
I called him up and I thought
he might be a very good version
773
00:34:02,579 --> 00:34:04,214
of what we were writing,
774
00:34:04,281 --> 00:34:07,786
which is a more uptight kindof nerdy kind of character.
775
00:34:07,852 --> 00:34:09,586
Rick Moranis read itin 24 hours
776
00:34:09,654 --> 00:34:11,823
and called me backand he said, "I'm so happy.
777
00:34:11,890 --> 00:34:13,290
"This is the greatest script
I've ever read;
778
00:34:13,357 --> 00:34:14,625
I want to be in it."
779
00:34:14,693 --> 00:34:17,629
- Yeah, ghosts scarethe pants off me.
780
00:34:17,696 --> 00:34:19,463
The polyester pants off me.
781
00:34:19,530 --> 00:34:21,733
- Rick was there and great
and brilliant
782
00:34:21,800 --> 00:34:23,635
and really had a great takeon that character,
783
00:34:23,702 --> 00:34:25,937
so he became Louis Tully.
784
00:34:26,004 --> 00:34:28,840
I'd say Sigourney was the
biggest surprise in the movie
785
00:34:28,907 --> 00:34:30,975
for us and hadthe most profound impact
786
00:34:31,042 --> 00:34:32,777
on the finished product.
787
00:34:32,844 --> 00:34:34,746
- You know, we had been
writing so quickly,
788
00:34:34,813 --> 00:34:36,981
there was no female part,
really.
789
00:34:37,048 --> 00:34:39,084
We knew there was a woman
790
00:34:39,150 --> 00:34:40,517
in this buildingon Central Park
791
00:34:40,584 --> 00:34:42,887
that Bill Murraycomes to check out
792
00:34:42,954 --> 00:34:45,924
because of stuffthat was going on there,
793
00:34:45,990 --> 00:34:47,926
and we had the effects,
we didn't really have
794
00:34:47,992 --> 00:34:50,594
any character,
we had no real role for her.
795
00:34:50,662 --> 00:34:53,798
- We've been accused for years
of not writing good
796
00:34:53,865 --> 00:34:56,433
female characters
because comedy at the time
797
00:34:56,500 --> 00:34:58,435
was very much a boys club.
798
00:34:58,502 --> 00:35:01,172
- Really met some wonderful
actresses for this part.
799
00:35:01,238 --> 00:35:02,807
- Don't you remember me?
800
00:35:02,874 --> 00:35:04,408
I'm Peter Venkmanfrom Ghostbusters?
801
00:35:04,475 --> 00:35:06,111
- I am Zuul.
802
00:35:06,177 --> 00:35:08,012
I am the Gatekeeper.
803
00:35:08,079 --> 00:35:10,581
- My psychiatrist thinksI'm losing my mind.
804
00:35:10,648 --> 00:35:12,382
My friends thinkI'm taking LSD
805
00:35:12,449 --> 00:35:15,787
and I haven't even had thenerve to tell my parents yet.
806
00:35:15,854 --> 00:35:18,022
- Finally,
Sigourney Weaver walks in,
807
00:35:18,089 --> 00:35:19,590
all six-eight feet of her.
808
00:35:19,657 --> 00:35:23,027
- You know, I'm not sure
how they thought of me, um,
809
00:35:23,094 --> 00:35:27,397
because I really hadn't done--
I'd done a lot of comedy
810
00:35:27,464 --> 00:35:30,267
in the theater,but not in movies.
811
00:35:30,334 --> 00:35:31,836
I then had to meetIvan Reitman.
812
00:35:31,903 --> 00:35:35,439
I remember I went out to LAand I auditioned for him.
813
00:35:35,506 --> 00:35:36,975
He filmed it,
which was the first time
814
00:35:37,041 --> 00:35:38,910
I'd ever been filmed
in an audition.
815
00:35:38,977 --> 00:35:40,678
- And she's talking about it,
and she finally says,
816
00:35:40,745 --> 00:35:43,148
"You know, I should getpossessed in this movie."
817
00:35:43,214 --> 00:35:44,515
And I thought, oh, my God,
818
00:35:44,581 --> 00:35:46,918
am I gonna have another
John Candy conversation?
819
00:35:46,985 --> 00:35:50,021
- I remember that I so wanted
to get the job that
820
00:35:50,088 --> 00:35:53,423
I then became a dog toward
the end of the scene,
821
00:35:53,490 --> 00:35:55,325
I'm supposed to become
a terror dog,
822
00:35:55,392 --> 00:35:57,195
and so I was jumping
around and...
823
00:35:57,262 --> 00:35:58,963
grabbing the cushions.
824
00:35:59,030 --> 00:36:02,466
- Sigourney in kind of a short
dress and it's kind of sexy.
825
00:36:02,533 --> 00:36:05,970
And she's baying to the moon
and I was so knocked out
826
00:36:06,037 --> 00:36:08,740
that the woman who knocked offthe Alien was there
827
00:36:08,807 --> 00:36:11,042
baying at the moon
in my office.
828
00:36:11,109 --> 00:36:13,377
- I think I frightened him,
he said later
829
00:36:13,443 --> 00:36:16,247
he would never show the tape
to anyone.
830
00:36:16,346 --> 00:36:18,016
- And I turned around
and I remember calling up Dan
831
00:36:18,082 --> 00:36:21,186
and Harold and saying,
you know, she was saying
832
00:36:21,252 --> 00:36:22,887
she should be possessed and,
833
00:36:22,954 --> 00:36:25,355
you know,
it sort of makes sense.
834
00:36:25,422 --> 00:36:29,260
- And I did really feel that
I could do a good job as Dana
835
00:36:29,326 --> 00:36:30,628
because I love the script,
836
00:36:30,695 --> 00:36:33,031
I thought it was just
such a love letter
837
00:36:33,097 --> 00:36:37,334
to our common condition
and to New York.
838
00:36:37,401 --> 00:36:40,571
- Sigourney, she's thisvery beautiful, statuesque,
839
00:36:40,638 --> 00:36:42,372
very intelligent woman,
840
00:36:42,439 --> 00:36:47,879
but she really is also kind of
a Margaret Dumont-like presence.
841
00:36:47,946 --> 00:36:51,282
She has that kind of regalitythat Margaret Dumont had
842
00:36:51,348 --> 00:36:54,786
with the Marx Brothers, and Ithought, yeah, she could work,
843
00:36:54,853 --> 00:36:57,055
she's certainlyan extraordinary actress,
844
00:36:57,121 --> 00:36:58,622
but beyond that you know,
845
00:36:58,690 --> 00:37:00,959
she would have the strengthand presence to just
846
00:37:01,025 --> 00:37:04,863
not get bullied over
by the likes of Bill Murray.
847
00:37:04,929 --> 00:37:07,632
- So she took it andit made us want to be better,
848
00:37:07,699 --> 00:37:09,399
just raised the whole level
849
00:37:09,466 --> 00:37:10,869
and made Bill wantto be better.
850
00:37:10,935 --> 00:37:14,138
And he came up with the idea of,
"I'm gonna prove myself to you,"
851
00:37:14,205 --> 00:37:16,741
you know, the idea that she was
way too good for him,
852
00:37:16,808 --> 00:37:19,644
which was so apparent
in everything they did
853
00:37:19,711 --> 00:37:21,779
and said to each other.
854
00:37:21,846 --> 00:37:23,715
- I am madly in love with you.
855
00:37:23,781 --> 00:37:26,416
- I don't believe this.
Will you please leave?
856
00:37:26,483 --> 00:37:27,652
- And the idea that he needed
857
00:37:27,719 --> 00:37:29,254
to prove himself
was very important,
858
00:37:29,320 --> 00:37:31,656
because it gave ussome rooting interest
859
00:37:31,723 --> 00:37:34,225
in his character,actually, winning her over.
860
00:37:34,292 --> 00:37:36,261
- No kiss?
861
00:37:36,327 --> 00:37:38,997
- I remember at the timeI had a Brazilian nanny
862
00:37:39,063 --> 00:37:40,865
who was really cuteand she had
863
00:37:40,932 --> 00:37:43,533
a very whimsical way of putting
herself together,
864
00:37:43,600 --> 00:37:46,738
and I said, I've got
this funny audition
865
00:37:46,804 --> 00:37:50,074
and I'd like youto dress me for it.
866
00:37:50,141 --> 00:37:52,777
So my Brazilian nanny
dressed me for it
867
00:37:52,844 --> 00:37:55,346
and I went in and got the role.
868
00:37:55,412 --> 00:37:58,016
- There's a scene where Egon's
working under her desk,
869
00:37:58,082 --> 00:38:00,952
maybe she has eyes for hima little bit,
870
00:38:01,019 --> 00:38:02,987
she's tryingto be flirtatious.
871
00:38:03,054 --> 00:38:04,923
- I bet you like to read
a lot too.
872
00:38:04,989 --> 00:38:08,126
That may have been a bit ofan addition that we found
873
00:38:08,192 --> 00:38:10,261
that there was a little
chemistry thing there,
874
00:38:10,328 --> 00:38:11,696
it was like, well, why not?
875
00:38:11,763 --> 00:38:13,164
- We actually explored
that relationship
876
00:38:13,231 --> 00:38:14,632
in the original script.
877
00:38:14,699 --> 00:38:17,902
- I want you to take this.
- What is it?
878
00:38:17,969 --> 00:38:19,871
- It's a souvenirfrom the World's Fair
879
00:38:19,938 --> 00:38:23,308
in Flushing Meadow in 1964.
880
00:38:23,374 --> 00:38:25,677
- And there's a little,
tiny bit of it in the movie,
881
00:38:25,743 --> 00:38:28,612
but I started to feel it was
really wrong for Egon
882
00:38:28,680 --> 00:38:31,249
to suddenly become
emotionally involved
883
00:38:31,316 --> 00:38:33,017
in any way in the movie.
884
00:38:33,084 --> 00:38:35,286
But Annie Potts
was so lovely to work with
885
00:38:35,353 --> 00:38:38,323
and was so much in the spiritof it, just really got it.
886
00:38:38,389 --> 00:38:40,058
She's kind of a Southern girl,
887
00:38:40,124 --> 00:38:43,061
but she put on that kindof fake Bronx-Brooklyn thing
888
00:38:43,127 --> 00:38:44,963
for the character
and it worked so well.
889
00:38:45,029 --> 00:38:46,898
- A lot of casting people
wouldn't see me, they'd go,
890
00:38:46,965 --> 00:38:51,135
"Oh, no, too, too New York,"
um...
891
00:38:51,202 --> 00:38:57,208
And I was...I'm from the South,
I put on that accent.
892
00:38:57,275 --> 00:38:59,444
I was--I was actually acting.
893
00:38:59,509 --> 00:39:00,945
- She was really just a--
894
00:39:01,012 --> 00:39:02,714
just a lovely part of
the team, I thought.
895
00:39:02,780 --> 00:39:05,515
- We got one!
896
00:39:05,582 --> 00:39:08,252
That line will probably be
on my tombstone.
897
00:39:09,654 --> 00:39:11,488
- A call!
898
00:39:11,555 --> 00:39:13,358
- We had this song andmy manager took this over
899
00:39:13,424 --> 00:39:16,694
to Ivan Reitman, said,"Do you want to do this movie?
900
00:39:16,761 --> 00:39:18,663
There's a song, we think
you could do it."
901
00:39:18,730 --> 00:39:20,064
I said, sure,
it sounds good.
902
00:39:20,131 --> 00:39:21,899
I said,
let me see what's up.
903
00:39:21,966 --> 00:39:23,234
He said, "I have no timefor that--
904
00:39:23,301 --> 00:39:25,937
"I need you to take a lookat the lyrics,
905
00:39:26,004 --> 00:39:27,772
"figure outsome appropriate changes
906
00:39:27,839 --> 00:39:29,974
and fax this over to me."
907
00:39:30,041 --> 00:39:31,943
He says,
I have about 30 minutes.
908
00:39:32,010 --> 00:39:33,644
And, you know, you learnin this business,
909
00:39:33,711 --> 00:39:36,080
the first answer
is always "yes."
910
00:39:36,147 --> 00:39:37,982
Then you hang up the phone
and figure out
911
00:39:38,049 --> 00:39:40,785
how you're gonna do this.
912
00:39:40,852 --> 00:39:44,722
So I finish what I'm doingin 45 minutes or so
913
00:39:44,789 --> 00:39:47,557
and fax these changesover to Ivan,
914
00:39:47,624 --> 00:39:50,428
and Ivan goes,
"Yeah, this works."
915
00:39:50,495 --> 00:39:53,131
I thought the way they usedthe song was brilliant.
916
00:39:53,197 --> 00:39:55,633
You know, the Bus Boyswere all about and still are
917
00:39:55,700 --> 00:39:57,502
a working classthought process,
918
00:39:57,567 --> 00:39:59,137
and the fact that they used us
919
00:39:59,203 --> 00:40:01,538
right at the point they
finally got some work
920
00:40:01,605 --> 00:40:04,608
I thought was like,
pure genius.
921
00:40:08,946 --> 00:40:10,214
Huh.
922
00:40:14,285 --> 00:40:16,187
- The Sedgewick Hotel wasshot at the Biltmore Hotel
923
00:40:16,254 --> 00:40:17,789
in downtown Los Angeles.
924
00:40:17,855 --> 00:40:20,892
- I was actually put upfor the man from the EPA,
925
00:40:20,958 --> 00:40:22,960
the part thatWilliam Atherton played.
926
00:40:23,027 --> 00:40:26,697
And then my agent
rang one day and said,
927
00:40:26,764 --> 00:40:28,933
"Would you like a booby prize?"
928
00:40:29,000 --> 00:40:31,402
- Across from the Biltmore
Hotel in Los Angeles
929
00:40:31,469 --> 00:40:33,204
is just a park,
930
00:40:33,271 --> 00:40:34,839
but when you look out
the doors there you'll see
931
00:40:34,906 --> 00:40:37,041
a whole cityscape
that was created.
932
00:40:37,108 --> 00:40:39,210
What we did was we took overpart of the street and built
933
00:40:39,277 --> 00:40:42,612
some storefronts thatwe then saw through the doors.
934
00:40:42,680 --> 00:40:46,117
- It was a sequence that should
have taken two, three days,
935
00:40:46,184 --> 00:40:49,954
but they were working on
a deadline and had to get it in
936
00:40:50,021 --> 00:40:52,156
that amazingly long night.
937
00:40:52,223 --> 00:40:54,892
It was a verydifficult camera move,
938
00:40:54,959 --> 00:40:58,362
and it requiredprecise timing.
939
00:40:58,429 --> 00:41:02,800
Well, I was mister ex-RSC,
London Academy of Music
940
00:41:02,867 --> 00:41:04,902
Dramatic Art prepared actor,
941
00:41:04,969 --> 00:41:07,371
knowing my lines backwards
and forwards,
942
00:41:07,438 --> 00:41:09,240
and timing it all out,
943
00:41:09,307 --> 00:41:12,643
but then they put me down
with those guys.
944
00:41:12,710 --> 00:41:14,011
- Did you ever report it
to anyone?
945
00:41:14,078 --> 00:41:15,847
- No, heavens, no!
- No.
946
00:41:15,913 --> 00:41:18,349
- And I'm just sort ofguestimating
947
00:41:18,416 --> 00:41:20,651
when they're goingto finish riffing
948
00:41:20,718 --> 00:41:22,887
and we would continuallybe wrong.
949
00:41:22,954 --> 00:41:26,324
And finally Ivan Reitman
got very annoyed,
950
00:41:26,390 --> 00:41:28,860
in fact,
he yelled at me.
951
00:41:28,926 --> 00:41:32,296
I can't remember now whetherit was Dan or Bill
952
00:41:32,363 --> 00:41:36,334
who piped up and said, "Backoff, Ivan, it's our fault,
953
00:41:36,400 --> 00:41:37,935
don't go on his case."
954
00:41:38,002 --> 00:41:41,139
And to this day I think
I was a surrogate
955
00:41:41,205 --> 00:41:44,008
for some frustration
because if I was Ivan Reitman
956
00:41:44,075 --> 00:41:46,277
I wouldn't want to be yelling
at my stars either.
957
00:41:46,344 --> 00:41:49,113
- I hope we could take care of
this quietly, tonight.
958
00:41:49,180 --> 00:41:51,916
- John Daveikis and I designed
the movie in terms of
959
00:41:51,983 --> 00:41:53,417
just the props in the car.
960
00:41:53,484 --> 00:41:55,486
Of course, we had a fantastic
professional crew
961
00:41:55,553 --> 00:41:58,322
of Hollywood propsdesigners and costumers,
962
00:41:58,389 --> 00:42:01,259
but the basically ideas
for the pack,
963
00:42:01,325 --> 00:42:03,961
the ecto,
that was Daveikis and myself.
964
00:42:04,028 --> 00:42:06,330
He is a college friend of mineand we drew up
965
00:42:06,397 --> 00:42:08,432
all my concepts for me.
966
00:42:08,499 --> 00:42:11,169
So when we walked in we hadthe ecto, we had the packs,
967
00:42:11,235 --> 00:42:14,472
we had the wands, the had the
technology of all those props,
968
00:42:14,539 --> 00:42:16,607
we had the jumpsuits,
we had the whole look
969
00:42:16,674 --> 00:42:18,609
of the industrial cleaners.
970
00:42:18,676 --> 00:42:20,978
- In the script they wereshooting beams called
971
00:42:21,045 --> 00:42:22,847
Nutrona wandsbecause you had a pack,
972
00:42:22,914 --> 00:42:25,449
you had some sort of devicethat went down to your wrist,
973
00:42:25,516 --> 00:42:26,918
and these would come out,
974
00:42:26,984 --> 00:42:28,085
they would--
you would press a button
975
00:42:28,152 --> 00:42:30,254
and you would havetwo beams go up.
976
00:42:30,321 --> 00:42:32,390
- One of the lines is,
"Okay, make them hard."
977
00:42:32,456 --> 00:42:36,027
So a physical prop had to beable to click--
978
00:42:36,093 --> 00:42:38,863
and then the thing
had to have an erection.
979
00:42:38,930 --> 00:42:41,399
- A tube would pop out
at the end.
980
00:42:41,465 --> 00:42:42,967
Ready!
981
00:42:43,034 --> 00:42:47,939
- Which seemed to simulate
some kind of techno erection.
982
00:42:48,005 --> 00:42:50,308
- And they are phallic, so...
- Right, exactly.
983
00:42:50,374 --> 00:42:52,577
And it was not a filmthat there was going to be
984
00:42:52,644 --> 00:42:54,245
a subtle aspect of it.
985
00:42:54,312 --> 00:42:58,115
- People always question the
yellow hose that was connected,
986
00:42:58,182 --> 00:42:59,984
came out of the proton pack
987
00:43:00,051 --> 00:43:04,121
and ran into a flanged valve
on our thighs.
988
00:43:04,188 --> 00:43:05,990
And I don't know,
for some reason they made
989
00:43:06,057 --> 00:43:08,926
the rubber tube yellow,which suggested
990
00:43:08,993 --> 00:43:11,529
that it was some kind
of catheter, I don't know.
991
00:43:11,596 --> 00:43:14,532
But the proton packs,there were several versions.
992
00:43:14,599 --> 00:43:17,602
Whenever we were going to do a
physical stunt, it was actually
993
00:43:17,669 --> 00:43:20,271
a rubber model of the protonpacks you could fall on
994
00:43:20,338 --> 00:43:23,007
and not hurt yourself,
but nothing on it worked.
995
00:43:23,074 --> 00:43:24,542
Then there wasthe full version
996
00:43:24,609 --> 00:43:26,310
which had allthe batteries in it
997
00:43:26,377 --> 00:43:27,845
and powered upthe whole pack
998
00:43:27,912 --> 00:43:30,114
and that probably weighedover 25 pounds.
999
00:43:30,181 --> 00:43:32,684
That got Murray
complaining a lot.
1000
00:43:32,750 --> 00:43:35,253
Bill's the--he's crankyand he just would complain
1001
00:43:35,319 --> 00:43:37,922
all the time aboutlugging those things around.
1002
00:43:37,989 --> 00:43:40,324
So whenever possible
they would--as soon as we were
1003
00:43:40,391 --> 00:43:42,694
done with the heavy ones
they would switch them out.
1004
00:43:44,595 --> 00:43:47,765
And they put a nice, deep hum
into the soundtrack
1005
00:43:47,832 --> 00:43:50,167
as the proton pack
kind of fires up.
1006
00:43:50,234 --> 00:43:52,303
- It shouldn't sound like
a light switch, it had to sound
1007
00:43:52,370 --> 00:43:55,072
like it was expensive
and heavy duty
1008
00:43:55,139 --> 00:43:56,841
and when it made its sound...
1009
00:43:58,809 --> 00:44:00,244
...something wasgoing to happen.
1010
00:44:00,311 --> 00:44:02,013
The idea that,
okay, they turn this on
1011
00:44:02,079 --> 00:44:04,750
and it actually takes time
to charge up, like,
1012
00:44:04,815 --> 00:44:07,485
the energy that they haveisn't available instantly.
1013
00:44:07,551 --> 00:44:09,688
- There's this reallynice set-up
1014
00:44:09,755 --> 00:44:12,857
that the equipment
had some danger,
1015
00:44:12,923 --> 00:44:15,393
some occupational hazard
associated with it.
1016
00:44:15,459 --> 00:44:18,262
And of course,when we open on the poor maid.
1017
00:44:18,329 --> 00:44:20,498
- I was on the set
at that time.
1018
00:44:20,564 --> 00:44:23,034
We had loaded that cartfairly heavily,
1019
00:44:23,100 --> 00:44:25,569
and we said we had to gotell the lady
1020
00:44:25,637 --> 00:44:27,238
what was going to go happening,
1021
00:44:27,305 --> 00:44:30,541
and the director said,
"No, let's just do it."
1022
00:44:30,608 --> 00:44:32,476
- The first test of that,
1023
00:44:32,543 --> 00:44:35,112
she walks out with the cartand when the guys shoot,
1024
00:44:35,179 --> 00:44:39,283
there's such a huge
sort of pyro explosion.
1025
00:44:39,350 --> 00:44:43,387
Scared the hell out of her.
1026
00:44:43,454 --> 00:44:46,725
- She ducked and covered,
which is fairly prudent,
1027
00:44:46,792 --> 00:44:49,193
and then she looked up
and said...
1028
00:44:49,260 --> 00:44:51,228
- What the hell are you doing?
1029
00:44:51,295 --> 00:44:53,397
- "What the hell
are you guys doing?"
1030
00:44:53,464 --> 00:44:55,599
Which is in the film.
1031
00:44:55,667 --> 00:44:57,636
- That was a natural reaction.
1032
00:44:57,703 --> 00:45:00,171
- The biggest problem with the
proton packs was--it was with
1033
00:45:00,237 --> 00:45:01,773
the wands as well--
was trying to figure out
1034
00:45:01,839 --> 00:45:03,207
how the beams would work.
1035
00:45:03,274 --> 00:45:04,842
They had to be animated,we knew that,
1036
00:45:04,909 --> 00:45:07,178
and there weren't a lot ofanimated effects around
1037
00:45:07,244 --> 00:45:08,846
other than a ray gun.
1038
00:45:08,913 --> 00:45:11,215
- This is all film-based
as opposed to
1039
00:45:11,282 --> 00:45:13,819
digitally-basedspecial effects.
1040
00:45:13,884 --> 00:45:15,286
- They had it easy, digitally.
1041
00:45:15,353 --> 00:45:17,321
But it wasn't,it was all hand animation.
1042
00:45:17,388 --> 00:45:20,057
- In order to make the shot
work, you have to figure out
1043
00:45:20,124 --> 00:45:22,560
how to distract the eye
in an artful way.
1044
00:45:22,626 --> 00:45:24,595
- And we did all these boardsand everything,
1045
00:45:24,663 --> 00:45:27,465
and when Dan came in it waslike, starting about
1046
00:45:27,531 --> 00:45:30,167
the Nutrona wands and it waslike talking to a child.
1047
00:45:30,234 --> 00:45:31,902
And he started talkingabout it, he said,
1048
00:45:31,969 --> 00:45:34,639
"You know, it's not a laser,"
he goes, he goes, "Imagine like
1049
00:45:34,706 --> 00:45:38,542
"an eight-year-old kid grabs
a firehose and turns it on
1050
00:45:38,609 --> 00:45:40,746
and just starts whippin' him
around the room."
1051
00:45:40,812 --> 00:45:42,913
- When you pull the triggerfor the first time,
1052
00:45:42,980 --> 00:45:46,685
the photo flashbulb at the endof the wand would go off,
1053
00:45:46,752 --> 00:45:48,452
which the special effects guys
1054
00:45:48,519 --> 00:45:51,589
used as a reference
for when the beam came out.
1055
00:45:51,656 --> 00:45:54,058
- I wanted strobe lights
and interactive lighting
1056
00:45:54,125 --> 00:45:56,627
to tie things
into a physical set.
1057
00:45:56,695 --> 00:45:58,295
- So everybody had
these dramatic shadows
1058
00:45:58,362 --> 00:46:00,131
and the place was blowing up.
1059
00:46:00,197 --> 00:46:01,867
- Because you don't wantto have to animate,
1060
00:46:01,932 --> 00:46:04,335
you know, kind of flare--
you can do that,
1061
00:46:04,402 --> 00:46:07,639
but it's not as successful
as shooting the real thing.
1062
00:46:07,706 --> 00:46:09,273
- It's a bonding agent.
1063
00:46:09,340 --> 00:46:10,975
- So that's part ofunderstanding
1064
00:46:11,041 --> 00:46:13,177
filming tricks and cheats.
1065
00:46:13,244 --> 00:46:15,045
- The scene would be
storyboarded,
1066
00:46:15,112 --> 00:46:17,281
it would be five beam shots.
1067
00:46:17,348 --> 00:46:19,617
Ivan would cut together thisfootage and it was funnier
1068
00:46:19,684 --> 00:46:21,986
and better and suddenlythere were 11.
1069
00:46:22,052 --> 00:46:24,288
And we said, we don't have
time, we don't have the money--
1070
00:46:24,355 --> 00:46:25,657
do it.
1071
00:46:25,724 --> 00:46:27,224
And John Brunowas smart enough,
1072
00:46:27,291 --> 00:46:28,760
realizing the deadlineahead of us,
1073
00:46:28,827 --> 00:46:30,762
to come up with a conceptthat he knew
1074
00:46:30,829 --> 00:46:32,764
those people could deliver.
1075
00:46:32,831 --> 00:46:34,999
And if there was one thing
we kept adding to the movie,
1076
00:46:35,065 --> 00:46:36,802
it was beam shots.
1077
00:46:36,868 --> 00:46:40,471
- To come up with a look,it was like rubberized light.
1078
00:46:40,538 --> 00:46:43,140
It was a signature look
to Ghostbusters.
1079
00:46:43,207 --> 00:46:45,409
- You know, how are we gonna
get four guys
1080
00:46:45,476 --> 00:46:47,211
to point these things
in the right direction?
1081
00:46:47,278 --> 00:46:49,280
- And it happens very quickly,it's hard to see,
1082
00:46:49,346 --> 00:46:51,449
but if you look at this stuff
slowly you actually realize
1083
00:46:51,515 --> 00:46:54,151
often that there's
a blast at the target
1084
00:46:54,218 --> 00:46:55,986
and it shoots actuallyinto the gun,
1085
00:46:56,053 --> 00:46:57,555
so the energy's going out
1086
00:46:57,621 --> 00:46:59,623
and coming back inat the same time.
1087
00:46:59,691 --> 00:47:03,561
- When they decided to actually
see the ghost, then it would be
1088
00:47:03,627 --> 00:47:07,531
difficult to shoot inthe corridors of the hotel
1089
00:47:07,598 --> 00:47:10,702
because it would be hard
to get as much light in there
1090
00:47:10,769 --> 00:47:12,570
as they would need forsome of the special effects.
1091
00:47:12,637 --> 00:47:14,773
So subsequentlythey built those corridors
1092
00:47:14,840 --> 00:47:16,373
at Warner Brothers.
1093
00:47:16,440 --> 00:47:19,878
- Well, Slimer, you know,
started off as drawings.
1094
00:47:32,590 --> 00:47:35,593
And then Steve Johnson
sculpted it.
1095
00:47:37,428 --> 00:47:39,563
- The thing that was amazing
about getting the opportunity
1096
00:47:39,631 --> 00:47:40,832
to work at Boss Film
1097
00:47:40,899 --> 00:47:44,335
was that for the first time
there was a whole other
1098
00:47:44,401 --> 00:47:47,505
tool chest--optical effects.
1099
00:47:47,571 --> 00:47:50,140
You could do so many things
that were never, ever possible
1100
00:47:50,207 --> 00:47:52,243
on some of the films
I worked with people
1101
00:47:52,309 --> 00:47:53,845
like Rick Bakerand Rob Butina.
1102
00:47:53,912 --> 00:47:56,715
- The visual effects work
was done in 65 millimeter
1103
00:47:56,781 --> 00:48:00,785
where Laszlo was shooting
35 millimeter camera
1104
00:48:00,852 --> 00:48:03,822
and then that image would becomposited and then reduced
1105
00:48:03,889 --> 00:48:06,825
down to 35 inan optical printer.
1106
00:48:06,892 --> 00:48:10,327
Each time you go a generation,the quality drops,
1107
00:48:10,394 --> 00:48:13,665
and so when you do make
these dupes and copies,
1108
00:48:13,732 --> 00:48:17,702
the quality comes out to be
about as though
1109
00:48:17,769 --> 00:48:19,470
it was original at the time.
1110
00:48:19,537 --> 00:48:21,372
- John Bruno is a reallygood friend of mine,
1111
00:48:21,438 --> 00:48:23,808
and John always wanted to push
for more and more and more
1112
00:48:23,875 --> 00:48:25,376
and more and it drove me nuts.
1113
00:48:25,442 --> 00:48:26,711
Whoopie!
1114
00:48:26,778 --> 00:48:29,079
It drove me out of my mind,
I'm like, really?
1115
00:48:29,146 --> 00:48:31,582
Seven sculptures? Seven fullscale
1116
00:48:31,650 --> 00:48:33,652
before you're gonnasay this is enough?
1117
00:48:33,718 --> 00:48:35,754
Now there's seven.- Don't we have to actually
1118
00:48:35,820 --> 00:48:37,054
make the creature?
1119
00:48:37,121 --> 00:48:39,590
At some point we've got to
actually make it.
1120
00:48:39,658 --> 00:48:41,425
- Well, he looked
like a potato.
1121
00:48:41,492 --> 00:48:43,093
- He's an uglylittle spud, isn't he?
1122
00:48:43,160 --> 00:48:44,696
- I think he can hear you, Ray.
1123
00:48:44,763 --> 00:48:47,064
- But what John was pushing for
on the Slimer character
1124
00:48:47,131 --> 00:48:49,533
because he knew it was goingto be double exposed,
1125
00:48:49,600 --> 00:48:51,736
a lot of the detail'sgoing to go away because
1126
00:48:51,803 --> 00:48:53,470
it's double exposedin the film.
1127
00:48:53,537 --> 00:48:55,974
He was gonna art direct that,
he was gonna control that,
1128
00:48:56,041 --> 00:48:59,044
so the first few sculpturesof Slimer were subtle,
1129
00:48:59,109 --> 00:49:01,278
they were much more realistic,
1130
00:49:01,345 --> 00:49:04,716
and John just kept
coming over, he said,
1131
00:49:04,783 --> 00:49:06,751
"How can you make itmore insane?
1132
00:49:06,818 --> 00:49:08,787
"How can you make peoplelook at this
1133
00:49:08,853 --> 00:49:12,122
and have their eyeballspop out of their heads?"
1134
00:49:12,189 --> 00:49:14,525
And I loved working with John,
1135
00:49:14,592 --> 00:49:16,594
but he was
a tough taskmaster.
1136
00:49:16,661 --> 00:49:20,865
- Sort of a lime
fluorescent green.
1137
00:49:20,932 --> 00:49:23,467
It was kind of a color we cameup with so we could see
1138
00:49:23,534 --> 00:49:27,005
in this art directed room.
1139
00:49:27,072 --> 00:49:29,641
- I, to this day, creditRichard Edlund coming up with
1140
00:49:29,708 --> 00:49:32,811
the technique to actually pullthat off, to get an amorphous
1141
00:49:32,877 --> 00:49:35,947
blob that's incredibly
cartoony and animate it,
1142
00:49:36,014 --> 00:49:37,983
to fly it around and doall of these things.
1143
00:49:38,049 --> 00:49:42,020
I, you know, being this crazy
artiste wanted to do it
1144
00:49:42,087 --> 00:49:44,488
an almost impossible way.
1145
00:49:44,555 --> 00:49:46,624
I originally wanted to do itwith these really long,
1146
00:49:46,691 --> 00:49:49,060
skinny arms that weremechanical, it wouldn't have
1147
00:49:49,126 --> 00:49:50,461
any performer inside it,
1148
00:49:50,527 --> 00:49:52,864
so it would not at alllook like a human.
1149
00:49:55,700 --> 00:49:57,534
Richard just looked at me
and goes,
1150
00:49:57,601 --> 00:49:59,136
"You're out of your... mind.
1151
00:49:59,203 --> 00:50:01,640
"Stick a guy in a suitand let his legs come out?
1152
00:50:01,706 --> 00:50:03,775
We'll film himand use his real arms."
1153
00:50:03,842 --> 00:50:05,810
Now, the thing that was reallyinteresting about that
1154
00:50:05,877 --> 00:50:07,879
was I thought,
okay, if Richard said
1155
00:50:07,946 --> 00:50:11,916
that we can remove
his legs optically,
1156
00:50:11,983 --> 00:50:14,385
that means...
1157
00:50:14,451 --> 00:50:17,221
I can make other things black
and stick them all
1158
00:50:17,287 --> 00:50:20,591
around the character and he'll
just have to remove them too.
1159
00:50:20,659 --> 00:50:22,493
But I sat thereand I thought to myself,
1160
00:50:22,559 --> 00:50:24,194
I knew what the moviewas about,
1161
00:50:24,261 --> 00:50:27,297
I mean, it's about insanity,it's about cartoon characters,
1162
00:50:27,364 --> 00:50:28,967
it's about Tex Avery,
and so I thought,
1163
00:50:29,034 --> 00:50:32,403
well, you tie a string
to a piece of rubber
1164
00:50:32,469 --> 00:50:34,571
and you pull it with a cable,
it's 12-feet long,
1165
00:50:34,639 --> 00:50:36,775
you're just gonna get that.
1166
00:50:36,841 --> 00:50:39,844
And I thought to myself,
a cartoon character,
1167
00:50:39,911 --> 00:50:42,579
when they smile, no,
no, no, no, no,
1168
00:50:42,647 --> 00:50:44,381
their faces actually deform
1169
00:50:44,448 --> 00:50:46,183
and inflateand their heads flatten
1170
00:50:46,250 --> 00:50:48,019
and all these insane thingshappen, and so I thought,
1171
00:50:48,086 --> 00:50:50,521
we're gonna put himin front of a black stage.
1172
00:50:50,587 --> 00:50:53,190
If we can remove his legs, we
can remove as many puppeteers
1173
00:50:53,257 --> 00:50:54,859
as we can get around him.
1174
00:50:54,926 --> 00:50:57,662
The way Slimer worked is thereis a performer, a guy named
1175
00:50:57,729 --> 00:50:59,831
Mark Wilson who was actuallyin charge of doing
1176
00:50:59,898 --> 00:51:01,498
the mechanical aspectsof pulling it all together.
1177
00:51:01,565 --> 00:51:05,136
- Do that slime stuff, Mark.
1178
00:51:05,202 --> 00:51:08,305
- They did a life cast on meto sculpt the arms over
1179
00:51:08,372 --> 00:51:12,077
and to position and figure outthe proportions of the head
1180
00:51:12,143 --> 00:51:14,311
and where my head would fit
inside the costume.
1181
00:51:14,378 --> 00:51:15,379
- He looks through the mouth,
1182
00:51:15,446 --> 00:51:16,881
there's mechanical eyes
up here.
1183
00:51:16,948 --> 00:51:18,917
His arms come throughthe stomach of the thing,
1184
00:51:18,983 --> 00:51:20,185
wearing rubber gloves,
1185
00:51:20,250 --> 00:51:22,020
and then his legsjust stuck out of the butt.
1186
00:51:22,087 --> 00:51:24,656
- So it's almost like
a Japanese Go theater
1187
00:51:24,723 --> 00:51:26,658
where everyone's in blackand this is
1188
00:51:26,725 --> 00:51:28,660
shot againstthe black background
1189
00:51:28,727 --> 00:51:32,831
so you could only then see
the green Slimer rubber.
1190
00:51:32,897 --> 00:51:35,299
- And I wore a black duvetyeneskirt for about month
1191
00:51:35,365 --> 00:51:37,468
which I have grown beyond.
1192
00:51:37,534 --> 00:51:38,937
- So what we ended updoing is
1193
00:51:39,003 --> 00:51:41,005
I designedall of these wrinkles
1194
00:51:41,072 --> 00:51:44,042
concentric and going back,you know, and his huge smile,
1195
00:51:44,109 --> 00:51:47,511
and then a performer ina black suit could go behind
1196
00:51:47,578 --> 00:51:49,013
the characterwhile we're filming,
1197
00:51:49,080 --> 00:51:52,751
and reach his arms into handles
on his cheeks and go...
1198
00:51:54,518 --> 00:51:56,721
And you'd just get
all these free muscle.
1199
00:51:56,788 --> 00:51:58,422
- Okay, Mark,just more--
1200
00:51:58,489 --> 00:52:00,725
cartoon animatedkind of quick, jerky.
1201
00:52:00,792 --> 00:52:02,292
It looked really goodlike that.
1202
00:52:02,359 --> 00:52:03,527
- I had a strap under my chin
1203
00:52:03,594 --> 00:52:05,096
which went intoa fiberglass helmet.
1204
00:52:05,163 --> 00:52:06,798
So by moving my head,
1205
00:52:06,865 --> 00:52:10,501
then I could make the Slimer's
head change direction.
1206
00:52:10,567 --> 00:52:12,402
- In order to keep itfrom just drooping
1207
00:52:12,469 --> 00:52:14,505
on the performer's body,
1208
00:52:14,571 --> 00:52:17,942
we'd put a series of
concentric spring steel bands.
1209
00:52:18,009 --> 00:52:20,444
What that also did wasan amazing bonus
1210
00:52:20,511 --> 00:52:21,880
that we didn'tnecessarily expect--
1211
00:52:21,946 --> 00:52:24,716
he would make his body
just jiggle around
1212
00:52:24,783 --> 00:52:27,451
like a cartoon charactermight do.
1213
00:52:31,923 --> 00:52:35,093
- And it also didn't kill Mark,
so that was good.
1214
00:52:36,895 --> 00:52:38,595
- ...just bring your handsforward, don't flail them.
1215
00:52:38,663 --> 00:52:41,065
- All Slimer was shot at the
Boss Films shooting stage,
1216
00:52:41,132 --> 00:52:43,034
which was, I think,just one door over
1217
00:52:43,101 --> 00:52:45,170
from where we werebuilding the costumes.
1218
00:52:45,236 --> 00:52:48,438
- This was pre-radio controlled
server motors,
1219
00:52:48,505 --> 00:52:49,941
these wereall cable controlled.
1220
00:52:50,008 --> 00:52:53,178
- There'd be cablescoming up under the costume
1221
00:52:53,244 --> 00:52:56,748
and those cables go to about
a half a dozen puppeteers
1222
00:52:56,815 --> 00:53:00,551
who have levers that connected
the cables, and they're
1223
00:53:00,617 --> 00:53:04,189
pulling on those levers to make
the various things work.
1224
00:53:04,255 --> 00:53:06,291
Well, these peoplehave to work in unison,
1225
00:53:06,356 --> 00:53:07,792
it's almost like a band.
1226
00:53:07,859 --> 00:53:10,195
- It wasn't until we actually
got on the stage
1227
00:53:10,261 --> 00:53:14,331
and started shooting him that
we realized how funny it was.
1228
00:53:14,398 --> 00:53:17,135
- Shake your butt, turn aroundand shake your butt.
1229
00:53:17,202 --> 00:53:18,870
Turn all the way around
1230
00:53:18,937 --> 00:53:20,805
like you're diggingin the room service cart.
1231
00:53:20,872 --> 00:53:24,175
- Slimer was intended to be
the spirit of John Belushi,
1232
00:53:24,242 --> 00:53:25,844
kind of to complete the team.
1233
00:53:25,910 --> 00:53:27,712
John Belushi had diedby that time.
1234
00:53:27,779 --> 00:53:30,081
- Definitely that's John,
no doubt.
1235
00:53:30,148 --> 00:53:32,016
- The guys said, "Do you want
him to look like John Belushi?"
1236
00:53:32,083 --> 00:53:33,218
No, no, no.
1237
00:53:33,284 --> 00:53:36,154
- I was writing a scene
up in the hotel scene,
1238
00:53:36,221 --> 00:53:38,622
what became the hotel scene,
it originally was a guest house
1239
00:53:38,690 --> 00:53:41,226
in Greenville, New York,
like a bed and breakfast
1240
00:53:41,292 --> 00:53:43,427
with this couple
that was terrorized
1241
00:53:43,493 --> 00:53:46,563
and we had to go up there,
upstate, you know,
1242
00:53:46,631 --> 00:53:50,400
and I was writing John's line
when I heard he died.
1243
00:53:50,467 --> 00:53:52,270
- We watched
John Belushi movies
1244
00:53:52,337 --> 00:53:54,005
and we watched "Animal House"
1245
00:53:54,072 --> 00:53:55,539
on video, in particular,
1246
00:53:55,606 --> 00:53:57,842
and watched all ofhis facial expressions,
1247
00:53:57,909 --> 00:53:59,978
and they're actually
in the performance,
1248
00:54:00,044 --> 00:54:01,946
and there are things, you know,
that Belushi would do
1249
00:54:02,013 --> 00:54:05,049
with his eyebrows in the early
scene, things like that,
1250
00:54:05,116 --> 00:54:08,552
and I loved that, so I managed
to get the eyebrow expression
1251
00:54:08,619 --> 00:54:10,454
as the puppeteer.
1252
00:54:13,892 --> 00:54:16,761
- Some tricks on Slimeris he rarely moved.
1253
00:54:16,828 --> 00:54:19,864
He is on a big cartand along with him on the cart
1254
00:54:19,931 --> 00:54:22,634
are the various otherpuppeteers.
1255
00:54:22,700 --> 00:54:24,869
- Even though I mightbe moving and gyrating,
1256
00:54:24,936 --> 00:54:26,971
the option was either
to move all the puppeteers
1257
00:54:27,038 --> 00:54:29,173
and the puppet
or to move the camera.
1258
00:54:29,240 --> 00:54:31,408
It was obvious that movinga camera on a dolly track
1259
00:54:31,475 --> 00:54:32,576
became much simpler.
1260
00:54:32,644 --> 00:54:33,978
- And higher!
1261
00:54:34,045 --> 00:54:35,680
- Because Richardbasically pioneered
1262
00:54:35,747 --> 00:54:37,815
the motion control thing,
1263
00:54:37,882 --> 00:54:39,350
the way you get
a spaceship to move,
1264
00:54:39,416 --> 00:54:41,485
you don't move the spaceship,you move the camera.
1265
00:54:41,551 --> 00:54:42,987
- Hands out more, Mark.
1266
00:54:43,054 --> 00:54:46,224
More wide--good mouth,great mouth.
1267
00:54:46,291 --> 00:54:47,692
Cut! Whoa!
1268
00:54:47,759 --> 00:54:51,561
- I do remember that
on the stage
1269
00:54:51,629 --> 00:54:56,566
Ivan actually voiced
that creature.
1270
00:54:56,634 --> 00:54:58,269
- That's going to be.
1271
00:54:58,336 --> 00:55:01,272
- I was shoved in right behind
the puppet with my arm
1272
00:55:01,339 --> 00:55:04,008
through the back of his headinto the tongue.
1273
00:55:04,075 --> 00:55:06,576
Mark, totally blind, becausehe's hidden inside the suit.
1274
00:55:06,644 --> 00:55:08,179
He had to pick up this plate,
1275
00:55:08,246 --> 00:55:11,215
dump it into the creature'smouth over the tongue
1276
00:55:11,282 --> 00:55:12,884
while I do these tongue things,
1277
00:55:12,951 --> 00:55:16,955
and all of this food is goingdown, dropping onto the back
1278
00:55:17,021 --> 00:55:21,960
of Mark's neck, all this slimy,
chilly, jelly food.
1279
00:55:22,026 --> 00:55:24,128
And we get the shot,we're all cracking up
1280
00:55:24,195 --> 00:55:26,297
and we hear from inside
the puppet...
1281
00:55:26,364 --> 00:55:27,932
"Get me out of here!"
1282
00:55:27,999 --> 00:55:30,335
- Since it was
such a frantic project,
1283
00:55:30,401 --> 00:55:32,036
we were cutting corners
1284
00:55:32,103 --> 00:55:34,839
and doing things as fast
as we possibly could,
1285
00:55:34,906 --> 00:55:37,742
and one of the shots that
we needed was for the ghost
1286
00:55:37,809 --> 00:55:39,677
to fly around the chandelier.
1287
00:55:39,744 --> 00:55:42,579
- I did sculpt a miniature
Slimer, like this big.
1288
00:55:42,647 --> 00:55:44,115
- And so instead of usingthe big one,
1289
00:55:44,182 --> 00:55:46,117
Gary shot a coupleof scenes with it,
1290
00:55:46,184 --> 00:55:49,120
they cut the film togetherand they wanted another shot,
1291
00:55:49,187 --> 00:55:51,621
and all of a sudden we couldn't
find the little guy.
1292
00:55:51,689 --> 00:55:53,358
- We were all sitting
in the room, talking,
1293
00:55:53,424 --> 00:55:55,159
what could we do,
what could we do?
1294
00:55:55,226 --> 00:55:57,929
- We're sitting there, looking,
and there's a bag of peanuts
1295
00:55:57,996 --> 00:55:59,998
and we're sitting there,
munching on one.
1296
00:56:00,064 --> 00:56:02,433
Gary picks up a peanut
and looks at it,
1297
00:56:02,499 --> 00:56:04,836
and the next thing I know,
we're spray-painting it green
1298
00:56:04,902 --> 00:56:08,740
and he's shooting a peanut
going around, and I'm like,
1299
00:56:08,806 --> 00:56:12,210
this is... this is either
gonna work or we're gonna lose
1300
00:56:12,276 --> 00:56:14,379
our jobs when we try to
pass this off.
1301
00:56:14,445 --> 00:56:16,814
We shot it, we didn't sayanything, we went to dailies,
1302
00:56:16,881 --> 00:56:21,352
cut it into movie, Ivan looked
at it and it was great.
1303
00:56:21,419 --> 00:56:23,454
- I went through the garbage
when they were throwing
1304
00:56:23,520 --> 00:56:26,324
stuff out and I have thatpeanut, that green peanut.
1305
00:56:26,391 --> 00:56:28,525
- Slimer, by the way,
got the name Slimer
1306
00:56:28,592 --> 00:56:30,661
when he says,"It slimed me."
1307
00:56:30,728 --> 00:56:32,397
That kind of stuck.
1308
00:56:32,463 --> 00:56:35,099
It was the Onionheaduntil that moment.
1309
00:56:37,235 --> 00:56:41,272
- The original script,
it was a much bigger role,
1310
00:56:41,339 --> 00:56:44,108
the character came at the very
beginning of the movie,
1311
00:56:44,175 --> 00:56:47,011
he was really
a part of the team.
1312
00:56:47,078 --> 00:56:48,946
He had just gottenout of the Air Force,
1313
00:56:49,013 --> 00:56:51,282
he was a demolitions expert,a Major at the Air Force.
1314
00:56:51,349 --> 00:56:53,785
So he had all ofthis background history
1315
00:56:53,851 --> 00:56:55,585
which was really kind
of cool and I was really
1316
00:56:55,653 --> 00:56:57,587
looking forward
to playing that.
1317
00:56:57,655 --> 00:57:02,226
- What happened was we wanted
to bring in a new Ghostbuster
1318
00:57:02,293 --> 00:57:04,162
midway through the film.
1319
00:57:04,228 --> 00:57:08,666
- We wanted a character
that was not experienced,
1320
00:57:08,733 --> 00:57:11,601
who was naturally going to come
into the story a little later
1321
00:57:11,669 --> 00:57:14,639
and would functionfor the audience
1322
00:57:14,705 --> 00:57:15,907
to answer the questions
1323
00:57:15,973 --> 00:57:17,775
of what was going onin New York.
1324
00:57:17,842 --> 00:57:21,012
- To revive the audience's
incredulity, you know,
1325
00:57:21,079 --> 00:57:22,680
someone who represented
the audience,
1326
00:57:22,747 --> 00:57:24,382
couldn't believe
all this was going on.
1327
00:57:24,449 --> 00:57:27,452
And we wanted him tobe actually more physical,
1328
00:57:27,518 --> 00:57:30,888
more competent than we were,like in a military way.
1329
00:57:30,955 --> 00:57:32,323
So we created a character
1330
00:57:32,390 --> 00:57:34,225
who had all kinds ofmilitary training.
1331
00:57:34,292 --> 00:57:36,593
And then we thought, let's make
him African American,
1332
00:57:36,661 --> 00:57:39,764
it just seemed like, you know,
it just--I don't know why--
1333
00:57:39,831 --> 00:57:42,567
our social conscience,
in a way.
1334
00:57:42,633 --> 00:57:44,368
It just seemed right.
1335
00:57:44,435 --> 00:57:46,603
If the movie was going to bewidely seen we thought,
1336
00:57:46,671 --> 00:57:49,707
you know, this representsa kind of inclusiveness
1337
00:57:49,774 --> 00:57:51,676
that we wanted to express.
1338
00:57:55,580 --> 00:57:59,616
You know, when you can make
statements, why not?
1339
00:57:59,684 --> 00:58:01,285
- I first heard about
"Ghostbusters"
1340
00:58:01,352 --> 00:58:04,122
on an elevator
at Cedar Sinai Hospital
1341
00:58:04,188 --> 00:58:06,691
in Los Angeles and I had wentto visit a friend
1342
00:58:06,757 --> 00:58:08,893
and I got on the elevator
1343
00:58:08,960 --> 00:58:10,995
and Ivan Reitman was onthe elevator,
1344
00:58:11,062 --> 00:58:14,832
and we had, like, 12 floors
to sort of travel together
1345
00:58:14,899 --> 00:58:18,102
in that silence after "hello"
and so he says,
1346
00:58:18,169 --> 00:58:22,473
"I'm doing this, um,
this movie 'Ghostbusters'."
1347
00:58:22,540 --> 00:58:23,875
- I said, oh, great,
you know?
1348
00:58:23,941 --> 00:58:25,510
Then he said, "But there's
nothing in it for you."
1349
00:58:25,576 --> 00:58:28,513
And then later on I found outthere was a part
1350
00:58:28,579 --> 00:58:31,883
that they were castinga Black actor in,
1351
00:58:31,949 --> 00:58:34,886
but I think he thought I was
all wrong
1352
00:58:34,952 --> 00:58:37,355
for the part because I'd done
a movie the year before
1353
00:58:37,421 --> 00:58:38,923
called "Spacehunter,"
1354
00:58:38,990 --> 00:58:41,159
but that character wassort of bigger than life.
1355
00:58:41,225 --> 00:58:43,861
My head was shaved,the voice was kind of
1356
00:58:43,928 --> 00:58:46,964
very demandingand commanding, you know,
1357
00:58:47,031 --> 00:58:48,733
it was a very different
character and I think
1358
00:58:48,799 --> 00:58:51,002
he sort of saw me that way.
1359
00:58:51,068 --> 00:58:53,337
- He had come in earlierand just auditioned
1360
00:58:53,404 --> 00:58:56,207
and there was this sweetnessto him that I just loved
1361
00:58:56,274 --> 00:58:57,542
and I just cast him.
1362
00:58:57,608 --> 00:58:58,743
- He seemed like
the perfect guy
1363
00:58:58,809 --> 00:59:00,344
and physical and fit,
1364
00:59:00,411 --> 00:59:02,380
which none of us really
were supposed to be.
1365
00:59:02,446 --> 00:59:06,384
- It wasn't until we got ready
to shoot the movie
1366
00:59:06,450 --> 00:59:10,288
that had been rewritten,
1367
00:59:10,354 --> 00:59:12,990
and it totally changed.
1368
00:59:13,057 --> 00:59:16,027
- We wrote, like,
the best lines for him.
1369
00:59:16,093 --> 00:59:18,296
He was turned on, he was likethe best written part
1370
00:59:18,362 --> 00:59:21,132
in the movie, had so manyfunny things to say.
1371
00:59:21,199 --> 00:59:23,968
And when we turnedin the draft,
1372
00:59:24,035 --> 00:59:25,970
Ivan Reitman, he said,
"You can't give all these lines
1373
00:59:26,037 --> 00:59:28,239
"to the fourth guy, you know,
1374
00:59:28,306 --> 00:59:29,941
"you gotta give these
to Murray, you know,
1375
00:59:30,007 --> 00:59:32,644
distribute these lines among
yourselves, you know?"
1376
00:59:32,710 --> 00:59:35,213
And a lot of it went to Bill's
character, I have to say.
1377
00:59:35,279 --> 00:59:38,216
- And somebody dropped
the script off at the room
1378
00:59:38,282 --> 00:59:40,652
I was staying in at theMayflower Hotel in New York
1379
00:59:40,718 --> 00:59:44,488
and it was actually the night
before we started shooting.
1380
00:59:44,555 --> 00:59:47,425
You know, the characteroriginally comes in page six
1381
00:59:47,491 --> 00:59:49,393
and now he's on page 68,
1382
00:59:49,460 --> 00:59:52,797
which is really hard to--for me
to sort of come to grips with,
1383
00:59:52,863 --> 00:59:54,832
I mean,
I wrestled with that a lot,
1384
00:59:54,899 --> 00:59:56,834
and I was shockedbecause we had rehearsed
1385
00:59:56,901 --> 00:59:59,370
for about three weeks.
1386
00:59:59,437 --> 01:00:01,739
And the next morningI went to the set
1387
01:00:01,806 --> 01:00:04,242
and talked to Ivan about it.
1388
01:00:04,308 --> 01:00:06,544
The PAs on the setdidn't recognize me,
1389
01:00:06,611 --> 01:00:09,747
so they didn't know that I wasin the movie and I was sort of
1390
01:00:09,814 --> 01:00:13,551
in a hurry to get to talk
to Ivan, and so--
1391
01:00:13,618 --> 01:00:16,420
but they wouldn't let me on the
set because they wanted to know
1392
01:00:16,487 --> 01:00:18,489
if I was working on the movie,
so it started off
1393
01:00:18,556 --> 01:00:21,325
being a little frustrating.
1394
01:00:21,392 --> 01:00:25,731
And...
but it all worked out.
1395
01:00:25,796 --> 01:00:27,832
The first week was difficult.
1396
01:00:27,898 --> 01:00:32,169
- Yeah, there was a lot of sort
of kind of silly, cynical talk
1397
01:00:32,236 --> 01:00:35,940
about, um, why he was
in the movie,
1398
01:00:36,007 --> 01:00:38,376
but he was in the movie
because he was really good
1399
01:00:38,442 --> 01:00:41,812
and he functioned perfectlyfor the story needs.
1400
01:00:41,879 --> 01:00:43,814
- Harold Ramis was
my sort of saving grace.
1401
01:00:43,881 --> 01:00:46,350
Harold, throughout the filmingof "Ghostbusters,"
1402
01:00:46,417 --> 01:00:49,854
whenever there was things that
I had difficulty understanding,
1403
01:00:49,920 --> 01:00:52,123
and there were times,
1404
01:00:52,189 --> 01:00:55,293
Harold was always the guy
I'd sort of go to and go,
1405
01:00:55,359 --> 01:00:59,964
man, what is--and he'd go,
"Ernie... it's okay."
1406
01:01:00,031 --> 01:01:03,669
And I think I learned a lotfrom Harold, in the many years
1407
01:01:03,735 --> 01:01:07,838
since I learned how to just
sort of go with the flow
1408
01:01:07,905 --> 01:01:12,276
and things may not turn out
the way you think they will,
1409
01:01:12,343 --> 01:01:13,944
but sometimes you just have
to ride it out
1410
01:01:14,011 --> 01:01:15,513
because things will be fine.
1411
01:01:15,579 --> 01:01:18,115
- Welcome aboard.
1412
01:01:21,419 --> 01:01:22,788
How are ya?
1413
01:01:22,853 --> 01:01:24,355
We're the Ghostbusters!
- Ghostbusters! Ghostbusters!
1414
01:01:24,422 --> 01:01:26,290
- We didn't have a music
supervisor in those days.
1415
01:01:26,357 --> 01:01:28,326
Gary LeMel, who was head
of music at Columbia
1416
01:01:28,392 --> 01:01:30,561
at that point, did a lot
of this with us.
1417
01:01:30,628 --> 01:01:33,397
So we needed a theme songand we tried a couple
1418
01:01:33,464 --> 01:01:35,634
that didn't quite work, therewas one we even had, it was
1419
01:01:35,701 --> 01:01:37,835
a teaser-trailer that came out
around Christmas.
1420
01:01:37,902 --> 01:01:41,740
- Ghostbusters--Coming to savethe world this summer.
1421
01:01:43,474 --> 01:01:46,444
We're ready to believe you.
1422
01:01:46,510 --> 01:01:49,080
- And Gary LeMel said, "I'm
going to bring in this guy,
1423
01:01:49,146 --> 01:01:51,849
Ray Parker,
and show him the movie."
1424
01:01:51,916 --> 01:01:54,051
- Part of it came aboutbecause I was dating this girl
1425
01:01:54,118 --> 01:01:56,854
that worked for Gary LeMel...
1426
01:01:56,921 --> 01:01:59,791
and I knew Gary LeMel from the
Barry White days because I did
1427
01:01:59,857 --> 01:02:01,592
all the Barry White records--I played guitar on them--
1428
01:02:01,660 --> 01:02:03,227
and then I got a callfrom Gary
1429
01:02:03,294 --> 01:02:05,797
because there was just gonna
be one segment in the film
1430
01:02:05,863 --> 01:02:07,331
at the library scene,
I think it was
1431
01:02:07,398 --> 01:02:12,403
20, 20 seconds long, and they
just needed like a theme song,
1432
01:02:12,470 --> 01:02:15,640
opening number with the words
"Ghostbusters" in it.
1433
01:02:15,707 --> 01:02:18,509
Now, it's unfair now becauseyou've heard the song,
1434
01:02:18,576 --> 01:02:20,779
but if you could imaginewriting a song...
1435
01:02:20,846 --> 01:02:23,013
♪ Ghostbusters, we wanna--♪
1436
01:02:23,080 --> 01:02:24,982
...it just reallydoesn't sing well,
1437
01:02:25,049 --> 01:02:26,785
it's a horrible,horrible word to sing to.
1438
01:02:26,852 --> 01:02:29,688
I think I recorded maybe
a minute and 15 or 20 seconds
1439
01:02:29,755 --> 01:02:33,792
of it and it took me 2 1/2,
three days, which is all I had,
1440
01:02:33,859 --> 01:02:36,695
and it was one of those things
where you get your money
1441
01:02:36,762 --> 01:02:39,597
if we get some music
in two or three days,
1442
01:02:39,664 --> 01:02:41,532
otherwise, the deal's off.
1443
01:02:41,599 --> 01:02:45,403
And so I was completely worn
out tired and I turned it in.
1444
01:02:45,469 --> 01:02:48,339
- And I remember we were
adding the music at the time,
1445
01:02:48,406 --> 01:02:50,040
we put this song on
and we went nuts, we said,
1446
01:02:50,107 --> 01:02:52,476
that's it, this is perfect.
1447
01:02:54,646 --> 01:02:56,480
- I rememberthe hardest part for me
1448
01:02:56,547 --> 01:02:58,349
was putting the wordsin the song,
1449
01:02:58,416 --> 01:03:00,819
and I remember the part ofthe "Ghostbusters" movie
1450
01:03:00,886 --> 01:03:03,755
where they had a solicitationwith a phone number.
1451
01:03:03,822 --> 01:03:05,523
Ghostbusters.
1452
01:03:05,589 --> 01:03:07,925
- And the night before
I turned in the song,
1453
01:03:07,992 --> 01:03:12,764
I was half asleep and on the TV
comes this insect commercial,
1454
01:03:12,831 --> 01:03:16,200
like these... exterminator
guys who were gonna
1455
01:03:16,267 --> 01:03:19,003
get rid of insects for you.
1456
01:03:19,069 --> 01:03:21,172
And if you just
close your eyes like this
1457
01:03:21,238 --> 01:03:23,742
and you're real sleepy,
the insect guys looked to me
1458
01:03:23,809 --> 01:03:25,443
like the Ghostbusters guys.
1459
01:03:25,509 --> 01:03:27,779
And they had the phone numberon the bottom, but I was like,
1460
01:03:27,846 --> 01:03:31,148
whoa, that's it,
it's a commercial, you just go,
1461
01:03:31,215 --> 01:03:32,483
"Who you gonna call?"
1462
01:03:32,550 --> 01:03:34,518
And the people scream,
"Ghostbusters."
1463
01:03:34,585 --> 01:03:35,887
- Ghostbusters.
1464
01:03:35,953 --> 01:03:39,590
- Dan drove the Ectomobile,
we followed in a follow truck.
1465
01:03:39,658 --> 01:03:41,726
We didn't have any permits,we put the guys in and we just
1466
01:03:41,793 --> 01:03:44,161
said, we're going all over
the city and doing schtick.
1467
01:03:45,931 --> 01:03:48,399
- We had all of this material
that was shot in New York City
1468
01:03:48,466 --> 01:03:50,401
and around, and we had
to figure
1469
01:03:50,468 --> 01:03:52,970
a way of making it a montage.
1470
01:03:53,037 --> 01:03:54,472
- They'd just jump into the car
1471
01:03:54,538 --> 01:03:56,207
and they'd go to
Rockefeller Center.
1472
01:03:56,273 --> 01:04:00,110
- I came up with this idea
of using these newspapers
1473
01:04:00,177 --> 01:04:03,314
and magazine as ways
of transitioning from
1474
01:04:03,380 --> 01:04:06,651
one live action shot
to the next live action.
1475
01:04:06,718 --> 01:04:09,754
It's a part of the creative
process of putting together
1476
01:04:09,821 --> 01:04:13,390
a montage and you try to make
it as difficult as possible.
1477
01:04:13,457 --> 01:04:15,626
- The guy walks by and stares
at him, and that's me.
1478
01:04:15,694 --> 01:04:18,562
- Driving around that cityin those ridiculous outfits
1479
01:04:18,630 --> 01:04:21,365
with the logos everywhere,
and in that ambulance.
1480
01:04:21,432 --> 01:04:22,767
- And we only had one
Ectomobile.
1481
01:04:22,834 --> 01:04:24,101
And just having one of them--
1482
01:04:24,168 --> 01:04:26,403
and it was an old car,it was insane.
1483
01:04:26,470 --> 01:04:29,741
- Ours was not
the best running car.
1484
01:04:29,808 --> 01:04:31,242
- It didn't even dawn on me,
1485
01:04:31,308 --> 01:04:33,210
you know, you gotta have
two of everything, you know?
1486
01:04:33,277 --> 01:04:35,312
And we left our ADPeter Giuliano,
1487
01:04:35,379 --> 01:04:37,716
and he did the helicoptershot on the Ectomobile.
1488
01:04:37,782 --> 01:04:40,050
The car conked out
going across the bridge.
1489
01:04:40,117 --> 01:04:41,786
- So we're pushing it,
you know,
1490
01:04:41,853 --> 01:04:43,889
pushing this thing down
Seventh Avenue and, you know,
1491
01:04:43,955 --> 01:04:46,725
so you're running around,
getting everything set up,
1492
01:04:46,791 --> 01:04:49,961
you know, pulling back for
an action, helping Rudy push
1493
01:04:50,027 --> 01:04:52,530
the Ectomobile and then
running back to Ivan's side,
1494
01:04:52,596 --> 01:04:55,132
it's just sort of coasting--it was supposed to be driving
1495
01:04:55,199 --> 01:04:57,401
but it's coasting
down the street.
1496
01:04:57,468 --> 01:05:00,271
- I think we just fixed the car
enough to just do this.
1497
01:05:00,337 --> 01:05:02,406
We need to get this shot
and get it running for this.
1498
01:05:02,473 --> 01:05:04,475
- And when you make the shot
in a car, you only have
1499
01:05:04,542 --> 01:05:07,044
a certain amount of street
that you can control.
1500
01:05:07,111 --> 01:05:09,446
But once you've done the shot,then you have to drive
1501
01:05:09,513 --> 01:05:11,783
all the way around to come back
to where you started
1502
01:05:11,850 --> 01:05:13,284
and in the city of New York,
1503
01:05:13,350 --> 01:05:14,819
it's all one way streets
everywhere.
1504
01:05:14,886 --> 01:05:16,587
- And Ivan tells you,
"Get in and drive the Cadillac
1505
01:05:16,655 --> 01:05:19,256
"out of the firehouse,come around the corner
1506
01:05:19,323 --> 01:05:22,928
and give me two passes,"
I mean... you know.
1507
01:05:22,994 --> 01:05:25,964
- So we did a lot of driving
around in that ambulance
1508
01:05:26,031 --> 01:05:30,802
as the Ghostbusters with Danny
driving with no cameras around
1509
01:05:30,869 --> 01:05:34,538
anywhere, so no one was even
aware a movie was being made,
1510
01:05:34,605 --> 01:05:37,943
but they'd see that ambulance,
"What the hell is that?"
1511
01:05:38,009 --> 01:05:40,845
- The Ectomobile, I came up
with that fairly early on
1512
01:05:40,912 --> 01:05:44,548
that was on the little previewreel I made up for Ivan
1513
01:05:44,615 --> 01:05:46,317
in the early part ofthe picture.
1514
01:05:46,383 --> 01:05:48,787
The thing went...
1515
01:05:48,853 --> 01:05:52,991
Yeah, it has that vaguely
European sound to it.
1516
01:05:53,058 --> 01:05:55,694
I made that
1517
01:05:55,760 --> 01:06:00,966
from a leopard howl
that was edited and then
1518
01:06:01,032 --> 01:06:05,971
reversed and played backwards
and the speed was changed,
1519
01:06:06,037 --> 01:06:09,808
I mean, keeping in mind
that there was no digital
1520
01:06:09,874 --> 01:06:11,442
manipulation in those days,
1521
01:06:11,508 --> 01:06:15,914
it was all razor blades and
splicing tape sort of thing.
1522
01:06:17,682 --> 01:06:21,251
- Our philosophy, sort of,on the movie, was to combine
1523
01:06:21,318 --> 01:06:25,724
the physical effects
with the optical effects.
1524
01:06:25,790 --> 01:06:28,592
- Dan Aykroyd's asleep
and suddenly his belt buckle's
1525
01:06:28,660 --> 01:06:30,594
being undone and his pants
are unzipped.
1526
01:06:30,662 --> 01:06:33,263
- That was a Stuart Ziff job,
wasn't it?
1527
01:06:33,330 --> 01:06:35,634
- Yeah.
Be careful how you say that.
1528
01:06:35,700 --> 01:06:37,802
- What?
1529
01:06:37,869 --> 01:06:39,503
Yeah, but I mean--
1530
01:06:39,570 --> 01:06:42,339
- You don't want to call that
"the Stuart Ziff job."
1531
01:06:42,406 --> 01:06:45,810
- Stuart Ziff was the rabbi
of the group.
1532
01:06:45,877 --> 01:06:47,444
- Yeah, he was.
1533
01:06:47,511 --> 01:06:50,115
- We worked very hard on that--
that was added on--
1534
01:06:50,180 --> 01:06:52,383
I had to hire someone, Al
Coulter,
1535
01:06:52,449 --> 01:06:54,251
to make that whole mechanism.
1536
01:06:54,318 --> 01:06:56,054
- Little bits of wire
1537
01:06:56,121 --> 01:07:01,660
and some strap springs
that curl up
1538
01:07:01,726 --> 01:07:04,996
and pull apart, bend it
and tweak it and yank on it
1539
01:07:05,063 --> 01:07:08,365
kind of stuff and then,of course, condoms,
1540
01:07:08,432 --> 01:07:11,535
air inflation device
and that's,
1541
01:07:11,602 --> 01:07:13,638
I guess, important to the gag.
1542
01:07:13,705 --> 01:07:15,272
- That was a long sequence,
1543
01:07:15,339 --> 01:07:16,741
that was not meant to be
a dream sequence.
1544
01:07:16,808 --> 01:07:19,110
We built that setand worked out a whole scene
1545
01:07:19,176 --> 01:07:20,812
with a voice prompt.
1546
01:07:20,879 --> 01:07:24,548
- Dan Aykroyd and Ernie Hudson
drive out to Fort Detmerring
1547
01:07:24,615 --> 01:07:26,918
and they trying to findthe Fort Detmerring ghost.
1548
01:07:26,985 --> 01:07:28,920
- And there'sa Revolutionary War ghost
1549
01:07:28,987 --> 01:07:31,522
and Danny gets the blowjob
and the whole thing.
1550
01:07:31,588 --> 01:07:33,658
- As they're looking around,
it's late at night,
1551
01:07:33,725 --> 01:07:37,028
and Dan Aykroyd falls asleepand then this ghost appears,
1552
01:07:37,095 --> 01:07:41,166
you know, bathing himin magenta pink light.
1553
01:07:46,403 --> 01:07:48,405
Wakes him upand unzips his pants
1554
01:07:48,472 --> 01:07:50,474
and makes him cross his eyes.
1555
01:07:50,541 --> 01:07:52,911
- I'm not sure what was going
on, I mean, he was having
1556
01:07:52,977 --> 01:07:54,545
a wonderful time with a ghost.
1557
01:07:54,611 --> 01:07:56,380
If you're gonna be haunted,
1558
01:07:56,447 --> 01:07:58,149
that's the kind of ghost
you want to be haunted by.
1559
01:07:58,215 --> 01:08:01,218
And because my insecurity is,how come he gets to be the--
1560
01:08:01,285 --> 01:08:02,787
hang out with the ghost?
1561
01:08:02,854 --> 01:08:04,455
What about me?
1562
01:08:04,521 --> 01:08:07,092
So I got over it, I'm okay.
1563
01:08:07,158 --> 01:08:11,295
- Once the film started on
that ascent up, if they gave
1564
01:08:11,361 --> 01:08:14,132
that the amount of time
they originally thought,
1565
01:08:14,199 --> 01:08:18,469
it would've broken that pace,
it would've broken that ascent.
1566
01:08:18,535 --> 01:08:21,172
So consequently,
it just got edited down.
1567
01:08:21,238 --> 01:08:23,340
- And once we were cutting it
1568
01:08:23,407 --> 01:08:24,843
and knew it was going to be a
montage,
1569
01:08:24,909 --> 01:08:27,277
it was like I had to run back
to the tech house and go,
1570
01:08:27,344 --> 01:08:30,815
you can cut four scenes,
you can cut four scenes!
1571
01:08:30,882 --> 01:08:32,684
- I don't know where they get
these guest conductors.
1572
01:08:32,751 --> 01:08:36,020
You know, I always felt like
each partner I had
1573
01:08:36,087 --> 01:08:40,725
in a scene was, was so
brilliant at what they did.
1574
01:08:40,792 --> 01:08:44,561
- I don't think that
my character is good
1575
01:08:44,628 --> 01:08:48,733
with competition, at least
the way I played him.
1576
01:08:48,800 --> 01:08:53,570
He's pretty in touch
with his inner child.
1577
01:08:53,638 --> 01:08:56,607
- It was one of
the first scenes I shot,
1578
01:08:56,674 --> 01:08:58,743
I think it might've beenthe first scene.
1579
01:08:58,810 --> 01:09:00,611
Having it sort of start atLincoln Center
1580
01:09:00,678 --> 01:09:02,781
was a wonderful placeto begin.
1581
01:09:02,847 --> 01:09:04,816
We had a good time
and I thought Timothy Carhart
1582
01:09:04,883 --> 01:09:07,351
did a great job,
you know, snuffling.
1583
01:09:07,417 --> 01:09:10,989
- I didn't know how cool themovie was going to be because,
1584
01:09:11,055 --> 01:09:12,422
you know, they don't say,
1585
01:09:12,489 --> 01:09:15,026
"Tim, come to the set,
you know,
1586
01:09:15,093 --> 01:09:16,694
"a month before your turn
1587
01:09:16,761 --> 01:09:19,530
and we'll show you everything,"
they don't do that.
1588
01:09:19,596 --> 01:09:21,833
You just show up
when your job is.
1589
01:09:21,900 --> 01:09:24,869
- It was a fun place to do a
scene and it was the beginning
1590
01:09:24,936 --> 01:09:27,337
of what I feel is one of
the great things about
1591
01:09:27,404 --> 01:09:30,440
"Ghostbusters," which is such
a love letter to New York.
1592
01:09:30,507 --> 01:09:33,011
- Sigourney's
a real straight shooter
1593
01:09:33,077 --> 01:09:36,580
and of course Bill is so not.
1594
01:09:36,648 --> 01:09:38,716
I shot a couple of days before
1595
01:09:38,783 --> 01:09:40,785
I did my first scenewith Bill.
1596
01:09:40,852 --> 01:09:43,221
It was like, well, isn't Bill
supposed to be here?
1597
01:09:43,288 --> 01:09:45,556
What time is Bill's call?
1598
01:09:45,622 --> 01:09:49,894
Anyway, Bill missed his call
by some hours,
1599
01:09:49,961 --> 01:09:53,530
so much so that we had to
start shooting that scene
1600
01:09:53,597 --> 01:09:55,133
with a stand-in.
1601
01:09:55,200 --> 01:09:57,534
And then he came inand he clearly didn't know
1602
01:09:57,601 --> 01:09:59,871
what the scene was,he hadn't looked at it.
1603
01:09:59,938 --> 01:10:03,675
Bill was very willing to justimprovise that scene.
1604
01:10:03,741 --> 01:10:06,177
But you can't now improvise
the scene because we've already
1605
01:10:06,244 --> 01:10:10,380
shot half of it, so you kind of
have to do the lines.
1606
01:10:10,447 --> 01:10:13,852
He was a little embarrassedabout having been that late,
1607
01:10:13,918 --> 01:10:18,388
so he was amusing everybody,but not me so much.
1608
01:10:18,455 --> 01:10:22,193
He was like, "What's wrong?
What's wrong, Annie? Come on."
1609
01:10:22,260 --> 01:10:23,862
Ghostbusters,
what do ya want?
1610
01:10:23,928 --> 01:10:28,066
I said, nothing's wrong,
I would just like you to stand
1611
01:10:28,132 --> 01:10:32,136
on your fucking mark
and say your fucking line!
1612
01:10:32,203 --> 01:10:34,438
And then I'll be fine.
1613
01:10:34,504 --> 01:10:37,574
And as I recall,
the crew applauded.
1614
01:10:37,642 --> 01:10:40,345
- It's a good job, isn't it?
1615
01:10:40,410 --> 01:10:41,980
- I'm Walter Peck.
1616
01:10:42,046 --> 01:10:43,982
I didn't do any deepbackground work
1617
01:10:44,048 --> 01:10:46,251
on the juvenile life
of Walter Peck.
1618
01:10:46,317 --> 01:10:49,519
I felt I had my own juvenile
life that was perfectly fine
1619
01:10:49,586 --> 01:10:52,857
to draw from,
I didn't need anybody else's.
1620
01:10:52,924 --> 01:10:55,525
I lived in New Yorkand I went and I met them.
1621
01:10:55,592 --> 01:10:57,161
I'd kind of known themperipherally
1622
01:10:57,228 --> 01:10:59,864
because I'd worked withGilda Radner in New York.
1623
01:10:59,931 --> 01:11:01,933
So I'd met all of them thenand it was a ver--
1624
01:11:02,000 --> 01:11:03,968
I mean,
they were iconic comics.
1625
01:11:04,035 --> 01:11:05,837
When I talked to Haroldabout it
1626
01:11:05,904 --> 01:11:07,705
and I talked to Ivan about it,
1627
01:11:07,772 --> 01:11:10,875
I knew that I can't
compete at being funny,
1628
01:11:10,942 --> 01:11:14,145
I have to play this--I have to
play this like "Antigone,"
1629
01:11:14,212 --> 01:11:16,314
you know, I have to bea male Margaret Dumont,
1630
01:11:16,381 --> 01:11:18,316
that's how I thought of it.
1631
01:11:18,383 --> 01:11:20,550
I certainly wasn't a comedian
and I wasn't going to be able
1632
01:11:20,617 --> 01:11:22,253
to compete with them
on that stage,
1633
01:11:22,320 --> 01:11:23,888
which would've been stupid.
1634
01:11:23,955 --> 01:11:26,357
And so they taught methe character, essentially.
1635
01:11:26,423 --> 01:11:28,826
The character's part ofthe architecture of the story.
1636
01:11:28,893 --> 01:11:32,897
They need a foil, a bad guy,or some kind of antagonist.
1637
01:11:32,964 --> 01:11:36,000
Theoni Aldredge, who wasa great costume designer,
1638
01:11:36,067 --> 01:11:37,601
I'd known her fromthe Public Theater,
1639
01:11:37,669 --> 01:11:39,804
and so we sat down
and she said,
1640
01:11:39,871 --> 01:11:41,806
"Well, what do you want to do,
what do you want to look like?"
1641
01:11:41,873 --> 01:11:45,910
And I said, well, I wanted to
make it visually significant.
1642
01:11:45,977 --> 01:11:49,047
I wanted a dark blue kind of
suit, I had a little
1643
01:11:49,113 --> 01:11:52,183
Phi Beta Kappa pin that's very
hard to see but it kind of
1644
01:11:52,250 --> 01:11:56,054
anchors you, and Theoni helped
me a great deal with that,
1645
01:11:56,120 --> 01:11:58,289
just kind of putting
the right kind of pinstripe,
1646
01:11:58,356 --> 01:12:01,726
the right kind of tie,
and I grew a beard for it.
1647
01:12:01,793 --> 01:12:03,795
And I took a deep breathand I hoped
1648
01:12:03,861 --> 01:12:07,332
it would kind of work out
and I'm the scene stealer.
1649
01:12:07,398 --> 01:12:09,200
You could have it your way,Mr. Venkman.
1650
01:12:16,174 --> 01:12:19,377
- Sigourney Weaver,she's in her apartment,
1651
01:12:19,444 --> 01:12:23,181
various things happened,she sits in the chair,
1652
01:12:23,247 --> 01:12:26,217
this hand breaks throughand grabs her and, like,
1653
01:12:26,284 --> 01:12:28,853
another hand breaks throughand grabs her over here.
1654
01:12:28,920 --> 01:12:31,656
Well, the shooting of that,
puppeteers underneath
1655
01:12:31,723 --> 01:12:34,192
with these claws
would reach up.
1656
01:12:34,258 --> 01:12:37,362
- There were three puppeteers,very techy guys.
1657
01:12:37,428 --> 01:12:41,232
I had to really kind of
encourage them to not be afraid
1658
01:12:41,299 --> 01:12:44,702
of hurting me or, God knows,they would not offend me
1659
01:12:44,769 --> 01:12:47,338
if they grabbed me here,they had these big,
1660
01:12:47,405 --> 01:12:49,340
rubber puppet hands anyway.
1661
01:12:49,407 --> 01:12:51,876
- Of course this is
Sigourney Weaver, and they just
1662
01:12:51,943 --> 01:12:54,278
wouldn't do it withthe right amount of force.
1663
01:12:54,345 --> 01:12:57,181
- What happened in the first
couple of takes was...
1664
01:12:57,248 --> 01:13:00,251
You know,
try to find where they could
1665
01:13:00,318 --> 01:13:02,253
grab her without being,
you know, rude.
1666
01:13:02,320 --> 01:13:04,756
- She looks down at the
puppeteer in the middle of
1667
01:13:04,822 --> 01:13:07,191
the thing and she goes,
"Go ahead, make my day."
1668
01:13:07,258 --> 01:13:10,094
- And then the next take,wah, grabs her leg.
1669
01:13:10,161 --> 01:13:12,030
Ah, the other arm
grabs her breast.
1670
01:13:12,096 --> 01:13:13,898
It was a take that went
into the next shot.
1671
01:13:13,965 --> 01:13:18,036
- They were all so sweet
and so like, "Oh..." you know.
1672
01:13:18,102 --> 01:13:20,505
- But there was something
very powerful, particularly for
1673
01:13:20,570 --> 01:13:23,441
the actors because they reallydid experience what finally
1674
01:13:23,508 --> 01:13:26,644
the audience was going to seeto a great extent.
1675
01:13:28,813 --> 01:13:31,182
- Those were a problem.
1676
01:13:31,249 --> 01:13:34,318
They were called terror dogs
almost arbitrarily because
1677
01:13:34,385 --> 01:13:38,256
they could've been lizard
creatures or gobbledygooks,
1678
01:13:38,322 --> 01:13:39,824
I mean, they had thingsthey had to do
1679
01:13:39,891 --> 01:13:41,893
like run aroundand be terrible.
1680
01:13:41,959 --> 01:13:45,196
So it had restraints,it had to exist on the ground,
1681
01:13:45,263 --> 01:13:47,265
it wasn't a floatingecto-whatever,
1682
01:13:47,331 --> 01:13:49,667
so they had to be scary,they couldn't be silly
1683
01:13:49,734 --> 01:13:51,202
like the Onionhead.
1684
01:13:51,269 --> 01:13:53,171
Because the laughs
of the scenes
1685
01:13:53,237 --> 01:13:55,473
were not based on it
being silly.
1686
01:13:55,540 --> 01:13:57,041
- I think
the biggest thing was
1687
01:13:57,108 --> 01:14:00,311
are these damn things gonna
work was the big question
1688
01:14:00,378 --> 01:14:03,281
with regard to the terror dogs.
1689
01:14:03,347 --> 01:14:07,018
- So we kind of took the
"terror dog" term literally.
1690
01:14:07,085 --> 01:14:08,719
I took it to some artistsand said,
1691
01:14:08,786 --> 01:14:10,955
interpret it as a mad dog,
1692
01:14:11,022 --> 01:14:13,958
and then we kept on movingthrough that and they just
1693
01:14:14,025 --> 01:14:16,360
morphed into somethingthat's a cross
1694
01:14:16,427 --> 01:14:18,595
between a lizardy creature
1695
01:14:18,663 --> 01:14:21,332
but acts sort of like a dog.
1696
01:14:21,399 --> 01:14:24,035
- By the time I got to
"Ghostbusters" a lot of
1697
01:14:24,102 --> 01:14:27,138
the concept drawings had been
done already and I think
1698
01:14:27,205 --> 01:14:29,941
everybody was pretty muchsnow-blind with all these
1699
01:14:30,007 --> 01:14:34,912
really good but totallydiverse interpretations
1700
01:14:34,979 --> 01:14:37,715
by Berni Wrightsonand by Tom Enriquez
1701
01:14:37,782 --> 01:14:39,684
and by a few other people.
1702
01:14:39,750 --> 01:14:41,419
It was like going though
the Louvre.
1703
01:14:41,486 --> 01:14:44,722
They finally settled on one,a design by Tom Enriquez,
1704
01:14:44,789 --> 01:14:47,024
which looked like a bit like
1705
01:14:47,091 --> 01:14:48,993
the "Forbidden Planet"Id monster,
1706
01:14:49,060 --> 01:14:51,796
but with four legs and horns.
1707
01:14:51,863 --> 01:14:54,232
As a concept, very good.
1708
01:14:54,298 --> 01:14:58,436
Then they made a maquette
of that which Michael Gross
1709
01:14:58,503 --> 01:15:01,906
presented me as something
that was animatable
1710
01:15:01,973 --> 01:15:03,875
and I didn't think it was.
1711
01:15:03,941 --> 01:15:05,743
It was very cartoonish,I mean, it was
1712
01:15:05,810 --> 01:15:08,479
a totally legitimateinterpretation of
1713
01:15:08,546 --> 01:15:11,949
that initial concept sketchof Tom's.
1714
01:15:12,016 --> 01:15:15,753
I was asked what my design
would be, and so I sculpted
1715
01:15:15,820 --> 01:15:18,623
my interpretation of it,which is
1716
01:15:18,689 --> 01:15:21,425
more anatomically valid.
1717
01:15:21,492 --> 01:15:25,163
A few notes were given
and I made some changes insofar
1718
01:15:25,229 --> 01:15:28,166
as the anatomy was concerned,not much.
1719
01:15:28,232 --> 01:15:32,403
Richard wanted him to be more
muscular, more weightlifter-y.
1720
01:15:32,470 --> 01:15:35,540
I think the original maquettewas a little better but--
1721
01:15:35,606 --> 01:15:39,277
because I think I made himtoo, like so many Americans,
1722
01:15:39,343 --> 01:15:41,445
he got too big,
you know, he got too fat,
1723
01:15:41,512 --> 01:15:42,980
he's a little chubby.
1724
01:15:43,047 --> 01:15:44,615
But that's okay,
'cause it's a comedy.
1725
01:15:44,682 --> 01:15:50,688
So it looks part Tom, part me,
part, you know, Harryhausen.
1726
01:15:50,755 --> 01:15:53,457
- I definitely
asked to be shown.
1727
01:15:53,524 --> 01:15:55,826
Of course, my firstconversation with Ivan
1728
01:15:55,893 --> 01:15:58,029
about the terror dogs was thatI could just put on a suit
1729
01:15:58,095 --> 01:15:59,964
and be a terror dog.
1730
01:16:00,031 --> 01:16:04,368
He thought that was about
the silliest idea in the world.
1731
01:16:04,435 --> 01:16:06,304
But I was from the theater,
you know, so,
1732
01:16:06,370 --> 01:16:07,972
"I can be a terror dog."
1733
01:16:08,039 --> 01:16:10,074
- The terror dogs
were made in many scales.
1734
01:16:10,141 --> 01:16:11,609
Whenever the terror dog
would run,
1735
01:16:11,677 --> 01:16:14,412
that was a stop-motion puppet,and the original one
1736
01:16:14,478 --> 01:16:17,715
was sculpted by Randy Cook
and ultimately he did
1737
01:16:17,782 --> 01:16:19,417
the stop-motion animation.
1738
01:16:19,483 --> 01:16:22,887
- But I, you know, oversaw
the sculpture of not only
1739
01:16:22,954 --> 01:16:25,056
the small one,which I sculpted myself,
1740
01:16:25,122 --> 01:16:28,259
but the big one,which Mike Hosch led off on,
1741
01:16:28,326 --> 01:16:30,361
that he and Linda Froboswere working on at night,
1742
01:16:30,428 --> 01:16:34,265
and I remember the last
two or three nights
1743
01:16:34,332 --> 01:16:38,637
before it had to be molded,everybody weighed in--
1744
01:16:38,704 --> 01:16:43,642
Steve Johnson and Linda Frobos
and Mark Wilson and myself,
1745
01:16:43,709 --> 01:16:46,645
maybe Billy Bryan, I don't
remember--a lot of people
1746
01:16:46,712 --> 01:16:50,548
started, you know, doingthe final detail on the face,
1747
01:16:50,615 --> 01:16:52,583
and the way we madethat work was
1748
01:16:52,651 --> 01:16:55,753
Polaroid camera,
little model,
1749
01:16:55,820 --> 01:16:57,555
stop-motion model,
big model.
1750
01:16:57,622 --> 01:17:00,524
And I just kept taking
Polaroids, matching Polaroids
1751
01:17:00,591 --> 01:17:03,662
of the two until I couldn't
tell the difference
1752
01:17:03,729 --> 01:17:05,096
and then we were done.
1753
01:17:05,162 --> 01:17:07,231
- And they had to somehow be--
1754
01:17:07,298 --> 01:17:09,267
look like something
that could be in a statue.
1755
01:17:09,333 --> 01:17:12,169
- It's supposed to be that
the stone statue came to life,
1756
01:17:12,236 --> 01:17:14,338
but the only way
we could do it in a hurry
1757
01:17:14,405 --> 01:17:16,841
was it was in thereand claws its way out.
1758
01:17:16,907 --> 01:17:19,010
- And this is actually
what you see underneath.
1759
01:17:19,076 --> 01:17:22,413
And the eye, if you notice,
there are wires here,
1760
01:17:22,480 --> 01:17:23,848
this was the actual prop
1761
01:17:23,914 --> 01:17:26,317
and there was
also a little push rod
1762
01:17:26,384 --> 01:17:29,954
operated via air, and it would
push through this little hole
1763
01:17:30,021 --> 01:17:32,256
and that's what broke away
the plaster.
1764
01:17:32,323 --> 01:17:35,559
- Sometimes the simple stuff
works even more effectively
1765
01:17:35,626 --> 01:17:38,629
than more elaborate things that
we're used to seeing right now.
1766
01:17:38,697 --> 01:17:42,133
- And because that was Randy's
gig, I just really wanted
1767
01:17:42,199 --> 01:17:43,834
to go see if he was
gonna fuck up or not.
1768
01:17:43,901 --> 01:17:47,371
- The terror dogs in the temple
were one of the first things
1769
01:17:47,438 --> 01:17:51,976
that we had to shoot,
long before the mechanics
1770
01:17:52,043 --> 01:17:53,811
could be done forthe inside of it.
1771
01:17:53,878 --> 01:17:58,249
So I suggested to productionthat we build dummy dogs,
1772
01:17:58,316 --> 01:18:01,619
basically no substructureat all--
1773
01:18:01,687 --> 01:18:04,588
"dogs," we call them--
these, these puppets
1774
01:18:04,656 --> 01:18:07,458
had no eye movement,they had no mouth movement,
1775
01:18:07,525 --> 01:18:09,126
they had nothing.
1776
01:18:09,193 --> 01:18:11,763
- And then an electric carving
knife like you'd carve
1777
01:18:11,829 --> 01:18:14,298
a turkey carved out the inside.
1778
01:18:14,365 --> 01:18:17,468
- So that a puppeteer could
get inside each from below.
1779
01:18:17,535 --> 01:18:21,807
I reasoned that we couldget our wide shots with them,
1780
01:18:21,872 --> 01:18:25,843
and then they could go inlater when the proper puppets
1781
01:18:25,910 --> 01:18:28,446
were made and do inserts.
1782
01:18:28,512 --> 01:18:31,515
- You know, there are
these big mass of rubber,
1783
01:18:31,582 --> 01:18:35,619
as they were kind of forklifted
on to the location.
1784
01:18:35,687 --> 01:18:37,588
- The puppeteers had to get
inside these things
1785
01:18:37,656 --> 01:18:40,291
and find out if they could
breathe and if they wouldn't
1786
01:18:40,358 --> 01:18:44,796
get poisoned by
the residual urethane aroma--
1787
01:18:44,862 --> 01:18:46,464
"bouquet," we call it.
1788
01:18:46,530 --> 01:18:49,433
- There was a male and female,
or a large horn, I guess,
1789
01:18:49,500 --> 01:18:50,702
and a little horn.
1790
01:18:50,769 --> 01:18:53,037
- We had two puppets
with interchangeable horns
1791
01:18:53,104 --> 01:18:56,340
that were otherwise
virtually identical.
1792
01:18:56,407 --> 01:18:59,510
- So he asked me, he said,
"You know, you're a girl,
1793
01:18:59,577 --> 01:19:02,546
"you're a female puppeteer,and I know this is gonna be
1794
01:19:02,613 --> 01:19:04,448
"a little bit weird,but do you think
1795
01:19:04,515 --> 01:19:08,953
"if I put a female puppeteer
in the temple dog
1796
01:19:09,019 --> 01:19:13,391
that Sigourney turns into that
it will be more feminine?"
1797
01:19:13,457 --> 01:19:17,528
Well, just so you know,
the answer is "yes."
1798
01:19:17,595 --> 01:19:19,330
- They had a little TV setso they could see
1799
01:19:19,397 --> 01:19:23,234
what they were doing--little,
tiny, itsy-bitsy TV sets,
1800
01:19:23,300 --> 01:19:26,671
the finest Radio Shack
could provide.
1801
01:19:26,738 --> 01:19:29,039
- When you climbed into it,
you were strapped into it
1802
01:19:29,106 --> 01:19:30,642
like a racecar harness.
1803
01:19:30,709 --> 01:19:35,312
- You could actually lean into
them and pilot them, you know,
1804
01:19:35,379 --> 01:19:37,381
turn the heads
and have them lean.
1805
01:19:37,448 --> 01:19:39,283
- It took a lot of
upper body strength.
1806
01:19:39,350 --> 01:19:42,553
- The floor of the actual set
was built four feet
1807
01:19:42,620 --> 01:19:45,523
off the ground,so if the director said, "Hey,
1808
01:19:45,589 --> 01:19:48,827
I want the terror dog over
there," the grips would cut
1809
01:19:48,894 --> 01:19:51,663
a hole in the floor and
the puppeteer would come from
1810
01:19:51,730 --> 01:19:55,166
the bottom and we'd putthe sitting terror dog on it
1811
01:19:55,232 --> 01:19:58,469
and also cables went under
the floor to all the people
1812
01:19:58,536 --> 01:20:01,740
with levers to operate
the cables, you know, to make
1813
01:20:01,807 --> 01:20:04,676
the cheeks move or whatever,the eyebrows move.
1814
01:20:04,743 --> 01:20:07,545
- And the first time we
reveal it, he opens the door
1815
01:20:07,611 --> 01:20:10,448
and throws the jacket and itlands on this thing.
1816
01:20:10,514 --> 01:20:12,950
Well, I'm the guythat was throwing the jacket
1817
01:20:13,017 --> 01:20:14,452
and it kept missing.
1818
01:20:14,518 --> 01:20:17,021
Ivan was there and he wasgetting really mad.
1819
01:20:17,087 --> 01:20:20,057
I did a lot, I mean,
to the point where,
1820
01:20:20,124 --> 01:20:22,794
"Okay, if you can't make it,somebody else is gonna do it,"
1821
01:20:22,861 --> 01:20:24,729
and with the last shot
I got it.
1822
01:20:24,796 --> 01:20:28,165
I think I did it like 15 times
because I kept missing.
1823
01:20:28,232 --> 01:20:29,701
It seemed easy.
1824
01:20:29,768 --> 01:20:33,103
- Because we had him really
shaking it off, and he goes,
1825
01:20:33,170 --> 01:20:35,439
"No, no, no, no, we want it--"
Randy would say, "No, I want it
1826
01:20:35,506 --> 01:20:38,643
more of a head--"
like that kind of a thing.
1827
01:20:38,710 --> 01:20:43,147
- The movements were veryminimal, which was
1828
01:20:43,214 --> 01:20:45,449
sort of echoed inthe animation as well.
1829
01:20:45,516 --> 01:20:49,053
- Stop-motion animation is
you gotta be nuts to do this.
1830
01:20:49,119 --> 01:20:51,522
- Then it was on to
the animation stage.
1831
01:20:51,589 --> 01:20:54,893
Doug Beswick made the armaturebased upon the creature
1832
01:20:54,960 --> 01:20:56,627
which had already been built.
1833
01:20:56,695 --> 01:20:58,996
It's always better to build it,
you know, build the armature
1834
01:20:59,063 --> 01:21:02,634
first and the creature after,
which our drawings were quite
1835
01:21:02,701 --> 01:21:04,903
accurate because we used to doelevation drawings,
1836
01:21:04,970 --> 01:21:06,771
right top and side and front.
1837
01:21:06,838 --> 01:21:09,941
- Why don't you go over andpet him on top of the head?
1838
01:21:10,007 --> 01:21:13,244
- Gunnar Ferdinandsen did themold, which was a work of art,
1839
01:21:13,310 --> 01:21:16,380
he was the preeminentmold maker of, you know,
1840
01:21:16,447 --> 01:21:19,383
in every shop in the business.
1841
01:21:19,450 --> 01:21:21,085
I'd grown up
making my own mold,
1842
01:21:21,151 --> 01:21:22,754
you know, I made my own molds
and boy,
1843
01:21:22,821 --> 01:21:25,891
those are sloppy stuff,
but he and Richard Ruiz,
1844
01:21:25,957 --> 01:21:28,459
you know, did it right.
1845
01:21:30,662 --> 01:21:32,196
I rememberthe Central Park thing
1846
01:21:32,263 --> 01:21:33,698
because I wasn't thereto oversee it.
1847
01:21:33,765 --> 01:21:35,934
No measurements were
taken of the thing.
1848
01:21:36,001 --> 01:21:39,671
- This was one of those cases
where we had to just
1849
01:21:39,738 --> 01:21:43,875
shoot something that wasn't
there and make that work.
1850
01:21:43,942 --> 01:21:46,878
- And that was a nightmarebecause it took a long time
1851
01:21:46,945 --> 01:21:49,613
to figure it out because wehad no dimensions, it wasn't
1852
01:21:49,681 --> 01:21:51,615
match moved,it was we had to make up
1853
01:21:51,683 --> 01:21:53,551
a match move,
complicated thing.
1854
01:21:53,617 --> 01:21:57,121
- You only had one crack at itbecause it took him at least
1855
01:21:57,187 --> 01:21:59,557
a day to shoot it and it tookhim a couple of days
1856
01:21:59,623 --> 01:22:01,158
to sort it out.
1857
01:22:01,225 --> 01:22:02,560
- We had no time left,
1858
01:22:02,626 --> 01:22:04,996
didn't knowhow it was gonna turn out.
1859
01:22:05,062 --> 01:22:07,799
We get back the next day
for dailies...
1860
01:22:07,866 --> 01:22:10,267
The whole set has been struck,
the terror dog's there,
1861
01:22:10,334 --> 01:22:12,704
the blue screen against which
he was shot
1862
01:22:12,771 --> 01:22:17,008
has gone off to Metro
for "2010,"
1863
01:22:17,074 --> 01:22:19,811
no retakes
and the film didn't--
1864
01:22:19,878 --> 01:22:22,681
wasn't to come back for
another couple of hours
1865
01:22:22,747 --> 01:22:25,249
so I was... nervous.
1866
01:22:25,316 --> 01:22:27,986
As it worked out,it was okay.
1867
01:22:28,053 --> 01:22:30,120
I would've done it over for
1868
01:22:30,187 --> 01:22:32,556
the simple reasonthat the blur
1869
01:22:32,623 --> 01:22:34,993
of the camera cancelled outthe blur of the puppet,
1870
01:22:35,060 --> 01:22:36,594
so it's got that flaw to it.
1871
01:22:36,661 --> 01:22:38,629
Well, what are you
gonna do?
1872
01:22:38,697 --> 01:22:40,632
- There was never a situation
where we said,
1873
01:22:40,699 --> 01:22:43,735
we can't deliver that,
we have to cut it.
1874
01:22:43,802 --> 01:22:48,505
- I think we only had 140 shots
was the original number,
1875
01:22:48,572 --> 01:22:52,109
and then when we had aboutthree or four weeks left,
1876
01:22:52,176 --> 01:22:55,145
Ivan decided to add
a hundred shots.
1877
01:22:55,212 --> 01:22:58,717
- The time constraints,the changing of the schedule.
1878
01:22:58,783 --> 01:23:00,852
We had people workingseven days a week,
1879
01:23:00,919 --> 01:23:03,021
I remember they rented some
condominiums across the street
1880
01:23:03,088 --> 01:23:04,421
from Boss Films
1881
01:23:04,488 --> 01:23:07,792
so people could see
their families occasionally.
1882
01:23:07,859 --> 01:23:09,961
- It's great when you work on
the weekend because you get
1883
01:23:10,028 --> 01:23:12,463
paid overtime, but if people
work too many weekends
1884
01:23:12,529 --> 01:23:14,298
they get completely burned out
1885
01:23:14,365 --> 01:23:15,967
and then the quality of work
goes down,
1886
01:23:16,034 --> 01:23:17,601
mistakes are made.
1887
01:23:17,669 --> 01:23:21,706
- When Ivan came over
to add these shots,
1888
01:23:21,773 --> 01:23:24,776
I met him in a parking lot
with a samurai suit.
1889
01:23:24,843 --> 01:23:26,443
- Is that true?
1890
01:23:26,510 --> 01:23:30,614
- I said, Ivan, we need to do
the samurai cut.
1891
01:23:30,682 --> 01:23:33,852
You know, we can't possibly do
a hundred more shots, you know,
1892
01:23:33,918 --> 01:23:36,587
you have to be reasonable here,
you know,
1893
01:23:36,655 --> 01:23:38,589
I mean,
the guys are bleeding already.
1894
01:23:38,657 --> 01:23:41,926
And then we went overby $700,000, you know,
1895
01:23:41,993 --> 01:23:44,663
then they started griping about
that, even though they had
1896
01:23:44,729 --> 01:23:48,099
added all these shots
in the last minute, I mean,
1897
01:23:48,165 --> 01:23:51,636
there was blood in the shoes
of the optical department.
1898
01:23:51,703 --> 01:23:54,538
- We actually shook everybody
up in the business
1899
01:23:54,605 --> 01:23:59,711
and they cut six months off
your post production schedule,
1900
01:23:59,778 --> 01:24:03,380
which is, well, if they could
do it, anybody could do it.
1901
01:24:03,447 --> 01:24:06,550
- Considering what
they could do then
1902
01:24:06,617 --> 01:24:08,019
and what they could do now
1903
01:24:08,086 --> 01:24:11,188
with the limited resourcesthat they had back then
1904
01:24:11,255 --> 01:24:12,691
was beautifully pulled off.
1905
01:24:23,600 --> 01:24:26,470
- What I loved was that Dana,
you know, was this sort of
1906
01:24:26,537 --> 01:24:30,842
"normal" person
and then becomes Zuul.
1907
01:24:30,909 --> 01:24:32,576
It was the kind of thingI'd done in theater,
1908
01:24:32,644 --> 01:24:34,779
sort of transforming
completely,
1909
01:24:34,846 --> 01:24:37,581
um, within 10 seconds,
1910
01:24:37,649 --> 01:24:40,785
but in movies you're not
usually encouraged to do that.
1911
01:24:40,852 --> 01:24:42,721
I had a brilliantmakeup artist
1912
01:24:42,787 --> 01:24:44,421
and we worked for a long time
1913
01:24:44,488 --> 01:24:47,324
to get my hair... like that
1914
01:24:47,391 --> 01:24:50,729
and lots of kind of
phosphorescent makeup.
1915
01:24:50,795 --> 01:24:55,299
He did just a great joband finally, I did look like
1916
01:24:55,365 --> 01:24:58,169
I'd stuck my fingerin a socket
1917
01:24:58,235 --> 01:25:00,038
and turned into someone else.
1918
01:25:00,105 --> 01:25:03,675
Between the wind and the lightand the makeup and everything,
1919
01:25:03,742 --> 01:25:06,711
my beautiful dressthat Theoni Aldredge
1920
01:25:06,778 --> 01:25:10,614
had made for me, this sort
of orangey, flamey dress,
1921
01:25:10,682 --> 01:25:14,753
I felt quite possessed
and it was a lovely feeling.
1922
01:25:16,487 --> 01:25:18,622
And then every now
and then Ivan would say,
1923
01:25:18,690 --> 01:25:21,558
"Just, you know, do a little
bit less, you know?"
1924
01:25:24,863 --> 01:25:28,967
If you give the editor stuff
like that, grotesque stuff
1925
01:25:29,033 --> 01:25:30,434
like what you're doing,
1926
01:25:30,501 --> 01:25:32,971
he's gonna want to put it
in the movie.
1927
01:25:33,037 --> 01:25:35,339
- When we shot it,that first day,
1928
01:25:35,405 --> 01:25:37,175
it was shot in City Hall
1929
01:25:37,242 --> 01:25:42,714
and it was either the Mayor's
office or an alternate office,
1930
01:25:42,781 --> 01:25:45,516
I remember Mayor Koch came in
to visit for a moment,
1931
01:25:45,582 --> 01:25:47,952
he was then the Mayor
of New York.
1932
01:25:48,019 --> 01:25:51,055
- Every once in a while Bill
would get on a roll and that
1933
01:25:51,122 --> 01:25:56,326
unity that they have, and you
really can feel outside of it,
1934
01:25:56,393 --> 01:25:59,898
and so trying to jump inthe middle of all that improv,
1935
01:25:59,964 --> 01:26:02,299
and they had worked togetherin that sort of medium.
1936
01:26:02,366 --> 01:26:05,335
I came from strictly acting,I mean, I came from theater,
1937
01:26:05,402 --> 01:26:07,604
but they were,
you know, just...
1938
01:26:07,672 --> 01:26:09,774
let it roll and see
what happens.
1939
01:26:09,841 --> 01:26:15,345
- Bill Murray said, "You know,
they should know each other
1940
01:26:15,412 --> 01:26:19,050
and they should be on a first
name basis, the Cardinal,"
1941
01:26:19,117 --> 01:26:21,119
and he said,"Your name is Lenny,"
1942
01:26:21,186 --> 01:26:23,154
so that was improvised,
1943
01:26:23,221 --> 01:26:25,156
that was not in the script.
1944
01:26:25,223 --> 01:26:28,726
And the Cardinal and me
being pals, which was such
1945
01:26:28,793 --> 01:26:31,461
a New York thing, you know,
1946
01:26:31,528 --> 01:26:36,668
that was Bill Murray's
inspired notion.
1947
01:26:36,734 --> 01:26:39,003
- They gave me the line about,
1948
01:26:39,070 --> 01:26:41,572
"I've seen shit
that would turn you white."
1949
01:26:41,639 --> 01:26:43,842
I think they were doing me
a favor, I'm not sure.
1950
01:26:43,908 --> 01:26:46,476
I get that a lot,
"Hey, Ernie Hudson!
1951
01:26:46,543 --> 01:26:48,445
"Say that line, you know,
in the Mayor's office,
1952
01:26:48,512 --> 01:26:50,014
you know,
you know, you know."
1953
01:26:50,081 --> 01:26:51,783
And then they won't say
the bad word
1954
01:26:51,850 --> 01:26:53,350
because they want me
to say the bad word.
1955
01:26:53,417 --> 01:26:55,887
I have seen shit
that'll turn you white.
1956
01:26:55,954 --> 01:26:59,724
I love the line that Bill
Murray has where he refers to
1957
01:26:59,791 --> 01:27:02,827
Bill Atherton as dickless,
which Bill, I'm sure,
1958
01:27:02,894 --> 01:27:06,731
has really learned to
appreciate over the years.
1959
01:27:06,798 --> 01:27:09,067
- Years later I see William
Atherton, and I say, you know,
1960
01:27:09,133 --> 01:27:11,535
uh, God, you know,
"Ghostbusters" was amazing,
1961
01:27:11,602 --> 01:27:13,004
right, I mean, you know?
1962
01:27:13,071 --> 01:27:15,405
I said, I walk down the streetand people yell,
1963
01:27:15,472 --> 01:27:17,675
"Yo, Egon! Hey, Brainiac!"
1964
01:27:17,742 --> 01:27:20,912
Really big effect
on all our careers, right?
1965
01:27:20,979 --> 01:27:23,047
And he said, "Yeah."
1966
01:27:23,114 --> 01:27:26,184
- I'm walking down 46th street
and the Criterion Theater's
1967
01:27:26,251 --> 01:27:29,254
there and they were--
and "Ghostbusters" was playing,
1968
01:27:29,320 --> 01:27:30,989
and all these buses
are out in front
1969
01:27:31,055 --> 01:27:33,390
and all the kids
are coming in from camp.
1970
01:27:33,457 --> 01:27:35,126
So I'm walking by the buses
1971
01:27:35,193 --> 01:27:37,161
and about800 really young kids
1972
01:27:37,228 --> 01:27:40,999
leaning out the window, going,"Hey, dickless!"
1973
01:27:43,167 --> 01:27:45,737
- Not so good for Bill.
- Then I started to laugh
1974
01:27:45,803 --> 01:27:49,539
because, um, it wasn't true.
1975
01:27:49,606 --> 01:27:51,075
- Gratefully,
Mr. President.
1976
01:27:51,142 --> 01:27:53,778
- It was kind of like Barnum
and Bailey, they were like,
1977
01:27:53,845 --> 01:27:56,147
we were all grounded in the
room, there were a lot of us,
1978
01:27:56,214 --> 01:27:59,583
we were all yelling, and we
just--I remember Bill just
1979
01:27:59,651 --> 01:28:03,054
kind of riffing and just
playing off the camera.
1980
01:28:03,121 --> 01:28:05,023
It was kind of like,well, you're on the Titanic
1981
01:28:05,089 --> 01:28:09,160
and all of a sudden Abbott and
Costello were there, you know,
1982
01:28:09,227 --> 01:28:12,462
and what are our last minutes
on earth going to be like?
1983
01:28:12,529 --> 01:28:14,899
- I was just
going with the text.
1984
01:28:14,966 --> 01:28:17,335
The text always beginseverything,
1985
01:28:17,402 --> 01:28:20,470
and there was somethingso New York about it,
1986
01:28:20,537 --> 01:28:24,175
and I remember Ivan Reitman,the director, suggesting that
1987
01:28:24,242 --> 01:28:28,746
I do certain very broad things,
you know,
1988
01:28:28,813 --> 01:28:32,951
and I said, no, I said,
they're the comedians.
1989
01:28:33,017 --> 01:28:37,055
I should be
as realistic as possible
1990
01:28:37,121 --> 01:28:40,124
because I'm the base,I'm the reality base,
1991
01:28:40,191 --> 01:28:42,927
I am the skeptical one.
1992
01:28:42,994 --> 01:28:46,097
I am the New Yorker,
"Who are these Ghostbusters?"
1993
01:28:46,164 --> 01:28:47,832
I mean, come on.
1994
01:28:47,899 --> 01:28:50,702
- It was a lot of fun,
but it was like throwing it all
1995
01:28:50,768 --> 01:28:53,137
up in the air and just
kind of going with it.
1996
01:28:53,204 --> 01:28:55,239
So it was terrifying
and wonderful at the same time.
1997
01:28:55,306 --> 01:29:00,111
- We had this massive location
on Central Park West between,
1998
01:29:00,178 --> 01:29:03,214
I think it was 66th and 67th
streets, and so it's also
1999
01:29:03,281 --> 01:29:06,550
where the traffic not only goes
north and south in the city
2000
01:29:06,616 --> 01:29:08,252
but east and west.
2001
01:29:08,319 --> 01:29:11,488
The city, when they finallyrealized what we wanted to do,
2002
01:29:11,555 --> 01:29:13,658
panicked and revokedthe permit.
2003
01:29:13,725 --> 01:29:16,761
When they did it, it wasthe day we were shooting
2004
01:29:16,828 --> 01:29:18,896
at City Halland all of a sudden
2005
01:29:18,963 --> 01:29:20,932
we couldn't findBill or Danny,
2006
01:29:20,999 --> 01:29:23,301
and for an hour we couldn't
find them.
2007
01:29:23,368 --> 01:29:28,172
And then they reappeared and
they said, "We just talked with
2008
01:29:28,239 --> 01:29:31,876
Mayor Koch because we're at
City Hall," so they went to see
2009
01:29:31,943 --> 01:29:34,511
the real Mayorand he's gonna fix it
2010
01:29:34,578 --> 01:29:35,680
and we're gonna be ableto shoot.
2011
01:29:35,747 --> 01:29:37,415
It was fantastic.
2012
01:29:37,482 --> 01:29:41,019
- The location was 55 Central
Park West, which is just
2013
01:29:41,085 --> 01:29:43,254
up the streetfrom the Mayflower Hotel
2014
01:29:43,321 --> 01:29:45,423
where I was staying,
so I could just
2015
01:29:45,490 --> 01:29:47,325
roll out of bed and walk
up to the set.
2016
01:29:47,392 --> 01:29:50,395
I think in the movie we changed
it to 550, which doesn't exist.
2017
01:29:50,461 --> 01:29:54,799
- And that building had
graduated color, as if you look
2018
01:29:54,866 --> 01:29:56,434
at it from a crowdin the park,
2019
01:29:56,501 --> 01:29:59,237
it starts darker and getslighter as it goes up.
2020
01:29:59,303 --> 01:30:01,406
It's really a beautiful
Art Deco building.
2021
01:30:01,472 --> 01:30:03,573
- We realized that every time
we were in front of
2022
01:30:03,641 --> 01:30:05,643
the real building,
in New York, looking up,
2023
01:30:05,710 --> 01:30:07,412
we had to put a top on it.
2024
01:30:07,478 --> 01:30:09,313
And then if you werelooking down on it,
2025
01:30:09,380 --> 01:30:12,083
it had to be a matte painting,so there were all these ways
2026
01:30:12,150 --> 01:30:13,918
we had to deal with
the top of the building.
2027
01:30:13,985 --> 01:30:17,889
- Then we had this big crowd
scene and were all the extras
2028
01:30:17,955 --> 01:30:20,258
in New York, they're veryprofessional people,
2029
01:30:20,324 --> 01:30:22,894
it was allthis theater people.
2030
01:30:22,960 --> 01:30:24,695
- And all the different kindsof New Yorkers
2031
01:30:24,762 --> 01:30:26,264
selling t-shirts and all that,it was,
2032
01:30:26,330 --> 01:30:29,333
it was a verymeaningful scene.
2033
01:30:29,400 --> 01:30:32,403
I grew up in New York and I was
born here, and I have to say
2034
01:30:32,470 --> 01:30:35,206
that I can't watch
that scene without crying,
2035
01:30:35,273 --> 01:30:37,975
just to see all the different
New Yorkers there.
2036
01:30:39,477 --> 01:30:41,446
- I like that shirt.
- Ghostbusters! All right!
2037
01:30:41,512 --> 01:30:44,348
- It had been the first movie
that I did extra work on,
2038
01:30:44,415 --> 01:30:46,250
I think it was four days,
2039
01:30:46,317 --> 01:30:48,753
there were two night shootsand two day shoots.
2040
01:30:48,820 --> 01:30:50,354
Bill Murraywas a clown, he was--
2041
01:30:50,421 --> 01:30:52,457
came and talked to usbetween takes.
2042
01:30:52,523 --> 01:30:56,094
I was very much into the New
Romantic kind of movement,
2043
01:30:56,160 --> 01:30:59,831
and my roommate and myself
sort of fancied
2044
01:30:59,897 --> 01:31:02,433
that I looked a little bitlike Tom Bailey
2045
01:31:02,500 --> 01:31:04,235
from the Thompson Twins.
2046
01:31:04,302 --> 01:31:07,305
I literally looked like
I had put a bowl on my head
2047
01:31:07,371 --> 01:31:10,441
and cut it around there
and my roommate at the time
2048
01:31:10,508 --> 01:31:13,978
would color it for me
this bright, crazy red color.
2049
01:31:14,045 --> 01:31:16,681
The name of the colorwas Red Penny.
2050
01:31:16,747 --> 01:31:18,349
It was the '80s!
2051
01:31:18,416 --> 01:31:20,318
- What was interesting
about the movie is
2052
01:31:20,384 --> 01:31:23,955
we kind of had to dothe ending first.
2053
01:31:24,021 --> 01:31:25,857
- John DeCuir
designed the set piece,
2054
01:31:25,923 --> 01:31:27,792
this sort of post-wreckage.
2055
01:31:27,859 --> 01:31:30,428
- We never broke groundin Manhattan.
2056
01:31:30,495 --> 01:31:33,264
In other words, we had
a street, couldn't dig a hole.
2057
01:31:33,331 --> 01:31:36,434
So when you see the scenes
where there's a half a cop car
2058
01:31:36,501 --> 01:31:39,237
in a hole and a bunch ofcement coming up, whatever,
2059
01:31:39,303 --> 01:31:42,240
that's all built above ground,and it worked perfectly.
2060
01:31:42,306 --> 01:31:44,542
And the amazing thing is
New Yorkers who were going by
2061
01:31:44,609 --> 01:31:46,177
thought it was real.
2062
01:31:46,244 --> 01:31:48,146
- And the person who was
meeting me for brunch
2063
01:31:48,212 --> 01:31:50,047
came in and said, "Areyou guys shooting here?
2064
01:31:50,114 --> 01:31:51,983
"You got a real problem because
there's been some sort of
2065
01:31:52,049 --> 01:31:53,918
"cave-in on the street,the police are here,
2066
01:31:53,985 --> 01:31:55,720
I don't know how you're gonnabe able to shoot."
2067
01:31:55,786 --> 01:31:57,288
So I thought, well,
that looks realistic.
2068
01:31:57,355 --> 01:31:59,891
- We discovered how you could
paralyze New York
2069
01:31:59,957 --> 01:32:02,627
by chopping two trees down
at the right place.
2070
01:32:04,328 --> 01:32:07,131
- We had to stop the traffic,
move the set dressing out,
2071
01:32:07,198 --> 01:32:10,902
shoot two takes,put the set dressing on,
2072
01:32:10,968 --> 01:32:12,904
open up the traffic.
2073
01:32:12,970 --> 01:32:15,406
- Closed New York down,
that whole section,
2074
01:32:15,473 --> 01:32:17,275
it was a nightmare.
2075
01:32:17,341 --> 01:32:20,578
- The horns were honking
back to infinity, I mean...
2076
01:32:20,646 --> 01:32:23,314
- I was thinking, my God, they
really were able to do this.
2077
01:32:23,381 --> 01:32:26,584
Who's the location manager
for this? Who has he bribed?
2078
01:32:26,652 --> 01:32:27,952
This is New York.
2079
01:32:28,019 --> 01:32:30,888
Who's just got a lot of money?
You know?
2080
01:32:30,955 --> 01:32:33,124
Somebody's done
very well for this.
2081
01:32:33,191 --> 01:32:36,027
- At one point
we shut down traffic
2082
01:32:36,093 --> 01:32:38,196
in three-fourths of Manhattan.
2083
01:32:38,262 --> 01:32:40,731
The traffic would back up allthe way across Central Park
2084
01:32:40,798 --> 01:32:44,135
to the East Side and all theway down to Columbus Circle,
2085
01:32:44,202 --> 01:32:46,571
which would then create atraffic jam on Eighth Avenue,
2086
01:32:46,638 --> 01:32:49,240
Broadway and Seventh Avenueand 59th Street,
2087
01:32:49,307 --> 01:32:52,210
which are majortraffic arteries.
2088
01:32:52,276 --> 01:32:56,480
So people down past 35th Street
in Manhattan would be stopped
2089
01:32:56,547 --> 01:32:58,849
for no reasonthey could figure out.
2090
01:32:58,916 --> 01:33:01,352
The word would spread out,
"Ghostbusters."
2091
01:33:03,254 --> 01:33:05,590
- So what John DeCuir did,
quite brilliantly,
2092
01:33:05,657 --> 01:33:09,126
is back in LA reproduced
the front of the building.
2093
01:33:09,193 --> 01:33:11,128
- The front of Sigourney'sbuilding on the street level
2094
01:33:11,195 --> 01:33:15,566
was just incredible because it
was made to vibrate and shake
2095
01:33:15,634 --> 01:33:16,901
as if it's in an earthquake.
2096
01:33:16,968 --> 01:33:20,204
- And we had a big pit
with hydraulic lifts.
2097
01:33:20,271 --> 01:33:24,008
- So that whole sections
of pavement would tilt up.
2098
01:33:24,075 --> 01:33:26,510
- And then we justhad to match it.
2099
01:33:26,577 --> 01:33:29,013
- The idea of a rooftop temple
came to us--we didn't really
2100
01:33:29,080 --> 01:33:31,115
know where the final
confrontation was gonna
2101
01:33:31,182 --> 01:33:34,552
take place and I remembered
a book called
2102
01:33:34,619 --> 01:33:36,053
"Rooftops of New York,"
2103
01:33:36,120 --> 01:33:39,090
and New York has the mostextraordinary rooftops--
2104
01:33:39,156 --> 01:33:41,459
there's temples and there'schateaus, you know,
2105
01:33:41,525 --> 01:33:43,961
architects--it was
a little conceit, I guess,
2106
01:33:44,028 --> 01:33:46,464
during the great era
of the skyscraper building,
2107
01:33:46,530 --> 01:33:49,267
was to put something
kind of interesting on top.
2108
01:33:49,333 --> 01:33:51,202
And I remembereda skyscraper in St. Louis,
2109
01:33:51,269 --> 01:33:53,771
where I went to college,that had a replica of
2110
01:33:53,838 --> 01:33:55,539
the Temple of Halicarnassus,
2111
01:33:55,606 --> 01:33:57,709
one of the wondersof the ancient world.
2112
01:33:57,775 --> 01:34:00,712
So I thought, well, why can't we
have this incredible rooftop,
2113
01:34:00,778 --> 01:34:05,850
you know, as the setting,
and it looks like a mock temple
2114
01:34:05,916 --> 01:34:07,852
but turns out to be
a real temple.
2115
01:34:07,918 --> 01:34:10,254
- John DeCuir liked to build.
2116
01:34:10,321 --> 01:34:12,256
John DeCuirreally liked to build.
2117
01:34:12,323 --> 01:34:14,760
John DeCuir had builthalf of Rome
2118
01:34:14,825 --> 01:34:16,861
three times for "Cleopatra."
2119
01:34:16,927 --> 01:34:18,529
He liked to build.
2120
01:34:18,596 --> 01:34:21,932
This didn't frighten Ivan,
it frightened me.
2121
01:34:21,999 --> 01:34:24,402
- It was his design
of the gates, you know,
2122
01:34:24,468 --> 01:34:27,271
and what happened at the topof the building.
2123
01:34:27,338 --> 01:34:29,607
None of that was really clearin the screenplay.
2124
01:34:29,675 --> 01:34:32,977
We had ideas of sort of stuffgoing on and gargoyles
2125
01:34:33,044 --> 01:34:34,680
at the top of the building,
2126
01:34:34,746 --> 01:34:38,282
but he was able to bring it all
together very quickly.
2127
01:34:38,349 --> 01:34:42,420
- So Ivan, on one hand
didn't want to spend the money
2128
01:34:42,486 --> 01:34:45,189
that John DeCuir
wanted to spend to build,
2129
01:34:45,256 --> 01:34:49,193
on the other hand, Ivan hated
having to depend on how
2130
01:34:49,260 --> 01:34:51,697
those special effects locked
him down so he couldn't turn
2131
01:34:51,763 --> 01:34:54,899
the camera around because every
time it's another effects shot.
2132
01:34:54,965 --> 01:34:56,467
If he could build it,
2133
01:34:56,534 --> 01:34:58,704
it gave him a lot more freedomin shooting.
2134
01:34:58,770 --> 01:35:00,639
- And the freedom was
very important with people
2135
01:35:00,706 --> 01:35:04,810
like Dan Aykroyd, Harold Ramis,
Bill Murray,
2136
01:35:04,875 --> 01:35:09,748
these remarkable,
inventive actor-writers.
2137
01:35:09,815 --> 01:35:12,751
- And there was so much shooting
to be done up there, Ivan felt
2138
01:35:12,818 --> 01:35:15,821
if we could build this thing,throw in some razzle dazzle,
2139
01:35:15,886 --> 01:35:18,889
special effects later, if wecould build the heart of it
2140
01:35:18,956 --> 01:35:20,324
so I could shoot fromall angles,
2141
01:35:20,391 --> 01:35:23,361
and John DeCuir
took on that challenge.
2142
01:35:23,427 --> 01:35:25,930
- It was in one of the largeststages in Los Angeles,
2143
01:35:25,996 --> 01:35:28,700
Stage 16 on the Burbank lot.
2144
01:35:28,767 --> 01:35:30,802
Shelly Kahn, actually, the
editor, once told me a story
2145
01:35:30,868 --> 01:35:32,370
and I didn't believe him,
2146
01:35:32,436 --> 01:35:34,872
where he said, you know,
that stage got so big because
2147
01:35:34,939 --> 01:35:37,441
William Randolph Hearst wasdoing a movie and they took
2148
01:35:37,508 --> 01:35:38,976
an existing stageand they lifted it up
2149
01:35:39,043 --> 01:35:40,578
and built underneath it,
2150
01:35:40,645 --> 01:35:42,546
and I thought, this is the
silliest story I ever heard,
2151
01:35:42,613 --> 01:35:44,882
and then about two days later
and I was watching a documentary
2152
01:35:44,949 --> 01:35:47,618
on television about Hearst
and it showed them doing it,
2153
01:35:47,686 --> 01:35:50,655
there was newsreel footage
of them lifting this stage
2154
01:35:50,722 --> 01:35:52,523
and making it a story higher.
2155
01:35:52,590 --> 01:35:55,526
- This tremendous sound stageis too small to hold the big
2156
01:35:55,593 --> 01:35:58,663
ensembles planned by WarnerBrothers for "Cain and Mabel,"
2157
01:35:58,730 --> 01:36:00,097
a new musical production,
2158
01:36:00,164 --> 01:36:02,834
so they're making it35 feet higher.
2159
01:36:02,900 --> 01:36:06,937
- So now the stage is 96 feet
taller and he filled that--
2160
01:36:07,004 --> 01:36:09,206
that set went right to the top.
2161
01:36:09,273 --> 01:36:11,643
- The first time we walked on
that set was like, wow,
2162
01:36:11,710 --> 01:36:14,245
really spent some moneyon this thing.
2163
01:36:14,311 --> 01:36:16,414
- Even Steven Spielbergcame down to look at this set,
2164
01:36:16,480 --> 01:36:18,382
which was very unusualbecause he was used to
2165
01:36:18,449 --> 01:36:20,484
working on his own
humungous stages.
2166
01:36:20,551 --> 01:36:23,087
- I've got a press release
for the set,
2167
01:36:23,154 --> 01:36:24,823
I mean,it was an amazing set.
2168
01:36:24,890 --> 01:36:27,358
- That was a peak day, to lookat what they built and it
2169
01:36:27,425 --> 01:36:29,527
just got me,
you could write anything
2170
01:36:29,593 --> 01:36:31,228
and they'll build it,
huh, yeah.
2171
01:36:31,295 --> 01:36:33,164
All it takes
is time and money.
2172
01:36:33,230 --> 01:36:36,333
- Man, I've never seen anything
so ambitious in a movie,
2173
01:36:36,400 --> 01:36:39,370
I mean, it was so beautiful,
first of all, and I thought,
2174
01:36:39,437 --> 01:36:41,807
wow, I'm reallyin a movie here, you know?
2175
01:36:41,873 --> 01:36:44,275
- I just remember climbing up
because we had to shoot
2176
01:36:44,341 --> 01:36:46,610
some of the electricity platesand climbing up,
2177
01:36:46,678 --> 01:36:48,345
like, a wooden ladder.
2178
01:36:48,412 --> 01:36:50,649
It was initials and dates,and I said, oh, if you're
2179
01:36:50,715 --> 01:36:53,451
up here to you get to carve
your initials and dates?
2180
01:36:53,517 --> 01:36:55,619
And the person, the stagehand,
who'd take us up gave us
2181
01:36:55,687 --> 01:36:58,289
this huge, dirty look
and he said, "You know, those,
2182
01:36:58,355 --> 01:37:00,224
"those are initials of peoplethat have fallen
2183
01:37:00,291 --> 01:37:02,694
out of the perms."
2184
01:37:02,761 --> 01:37:06,297
- So it was a very big set,
filling up a stage,
2185
01:37:06,363 --> 01:37:08,065
there was almostno room to move.
2186
01:37:08,132 --> 01:37:11,168
On top of that, we were alwayssmoking it up and adding wind,
2187
01:37:11,235 --> 01:37:14,706
so it was a desperate place
to be sometimes.
2188
01:37:23,581 --> 01:37:25,115
- They wanted to bring
the Statue of Liberty
2189
01:37:25,182 --> 01:37:26,617
out of the East River,
for one thing,
2190
01:37:26,685 --> 01:37:29,320
which they wound updoing in the second one,
2191
01:37:29,386 --> 01:37:32,022
and instead it was
the Stay Puft Marshmallow Man.
2192
01:37:32,089 --> 01:37:34,124
- Yeah, I mean, come on,
the Marshmallow Man--
2193
01:37:34,191 --> 01:37:38,028
I don't even know how Danny
thought that up.
2194
01:37:38,095 --> 01:37:40,665
- Stay Puft Marshmallow Man
was there from the beginning.
2195
01:37:40,732 --> 01:37:43,735
- The Marshmallow Man occurredhalfway through Dan's
2196
01:37:43,802 --> 01:37:46,437
original draft and things got
bigger from there.
2197
01:37:46,504 --> 01:37:48,405
- When I actually
started on the picture,
2198
01:37:48,472 --> 01:37:51,442
there was a number of drawingsdone already.
2199
01:37:51,509 --> 01:37:54,044
So there was kind of an idea.
2200
01:37:54,111 --> 01:37:56,948
We know he's a sailor, we weregoing with the idea of a guy
2201
01:37:57,014 --> 01:38:00,719
in a suit, which I think madeIvan really nervous.
2202
01:38:00,785 --> 01:38:04,588
- Linda Frobos had gotten
a job on "Ghostbusters,"
2203
01:38:04,656 --> 01:38:05,924
she was sculpting,
2204
01:38:05,991 --> 01:38:11,195
and they asked her if she knew
someone who could build
2205
01:38:11,262 --> 01:38:13,732
a Marshmallow Man and play it.
2206
01:38:13,798 --> 01:38:18,937
She knew I'd done Shakespeare,so it was an obvious lock.
2207
01:38:19,004 --> 01:38:20,639
The drawings
were already done.
2208
01:38:20,705 --> 01:38:24,009
The designer's head developedimages and they knew
2209
01:38:24,074 --> 01:38:27,846
how they wanted it to look,they had me do some maquettes.
2210
01:38:27,913 --> 01:38:30,114
- The sculpting made it
look kind of silly
2211
01:38:30,180 --> 01:38:34,051
and we made it fatter, I mean,
we thought the fatter it was,
2212
01:38:34,118 --> 01:38:36,821
the funnier it got.
2213
01:38:36,888 --> 01:38:41,492
- And the first suit that we
made was soft foam throughout.
2214
01:38:41,559 --> 01:38:43,728
The whole crew wasvery excited
2215
01:38:43,795 --> 01:38:46,597
about that first testbecause it was
2216
01:38:46,665 --> 01:38:49,834
80 percent there, but there was
one little problem that
2217
01:38:49,901 --> 01:38:53,571
as it walked toward the camera,
my legs were squeezing
2218
01:38:53,638 --> 01:38:56,841
the foam togetherand it looked like a vagina.
2219
01:38:56,908 --> 01:38:58,609
We had to change that,
2220
01:38:58,677 --> 01:39:04,448
so we spent some time thinking
about ways to firm it up.
2221
01:39:04,515 --> 01:39:08,619
John Bird came in as a
consultant and he recommended
2222
01:39:08,687 --> 01:39:11,322
that we makea fiberglass body,
2223
01:39:11,388 --> 01:39:14,558
and that frightened me--
I didn't want it to be
2224
01:39:14,625 --> 01:39:17,963
a fiberglass body, I didn't
want to wear a fiberglass body,
2225
01:39:18,029 --> 01:39:21,165
I didn't want to have to have my
arms straight out to the side,
2226
01:39:21,231 --> 01:39:24,101
cutting on the edges
and things like that.
2227
01:39:24,168 --> 01:39:25,704
So I worked with
some other foams
2228
01:39:25,770 --> 01:39:28,405
and we got someand we developed it.
2229
01:39:28,472 --> 01:39:33,110
The L200 internal structure
that we eventually used,
2230
01:39:33,177 --> 01:39:34,713
that was the right one.
2231
01:39:34,779 --> 01:39:38,315
- We showed the test that we all
thought was great, but remember,
2232
01:39:38,382 --> 01:39:42,821
this was like a Styrofoam,
yellow foam caked suit
2233
01:39:42,887 --> 01:39:45,824
with the head on it,
which wasn't painted,
2234
01:39:45,890 --> 01:39:48,525
it wasn't finished
to look like marshmallow,
2235
01:39:48,592 --> 01:39:51,295
and that's when Ivan said,"I can't believe it.
2236
01:39:51,362 --> 01:39:54,766
I'm basing my whole movieon this thing."
2237
01:39:54,833 --> 01:39:57,736
I remember he was nervous a lot
of the time because nobody
2238
01:39:57,802 --> 01:39:59,104
had ever done
anything like this.
2239
01:39:59,169 --> 01:40:02,272
- It was risking a joke
on something very different,
2240
01:40:02,339 --> 01:40:03,975
and though his career
wouldn't end,
2241
01:40:04,042 --> 01:40:06,945
but he would be judged by it
if it didn't work.
2242
01:40:07,012 --> 01:40:09,748
- It's either gonna work or
we're never gonna work again.
2243
01:40:09,814 --> 01:40:13,118
- There was only weeks before
doing it in which we were going,
2244
01:40:13,183 --> 01:40:16,921
crossing our fingers, saying,
let's hope this works,
2245
01:40:16,988 --> 01:40:19,057
because if it doesn't work...
2246
01:40:19,124 --> 01:40:22,626
- And I gotta give him credit,
they're committed,
2247
01:40:22,694 --> 01:40:25,496
it's gotta work.
2248
01:40:25,562 --> 01:40:27,231
- There was a discussion
about how big
2249
01:40:27,297 --> 01:40:29,199
should the Marshmallow Man be?
- Yeah.
2250
01:40:29,266 --> 01:40:31,069
- We really--it was
a big mystery, you know,
2251
01:40:31,136 --> 01:40:33,437
how big the Marshmallow Man was
supposed to be and going to be.
2252
01:40:33,504 --> 01:40:35,339
- 150 feet, 200 feet.
2253
01:40:35,406 --> 01:40:37,976
- Somebody had said 125
and somebody had said 100.
2254
01:40:38,043 --> 01:40:39,376
- You know, Ivan just said,
2255
01:40:39,443 --> 01:40:41,311
"Okay, I'll tell you
how tall he is.
2256
01:40:41,378 --> 01:40:45,083
He's 112.5 feet,
that's how tall, that's it."
2257
01:40:45,150 --> 01:40:46,751
- When you get artists
together,
2258
01:40:46,818 --> 01:40:48,920
you just start to
work off each other,
2259
01:40:48,987 --> 01:40:51,122
which is the beauty ofTeam Marshmallow Man.
2260
01:40:51,221 --> 01:40:54,358
We had Linda Frobos, who didmost of the sculpting of
2261
01:40:54,425 --> 01:40:57,028
the faces, and then myself
2262
01:40:57,095 --> 01:41:00,431
and a couple of otherreally great folks
2263
01:41:00,497 --> 01:41:04,035
that were to assist Bill
in the construction of it.
2264
01:41:04,102 --> 01:41:07,371
- And there were just
these sheets of foam,
2265
01:41:07,438 --> 01:41:09,239
just big sheets of foam.
2266
01:41:09,306 --> 01:41:12,844
People were cutting the foam,they were drawing out lines,
2267
01:41:12,911 --> 01:41:15,046
and they were cutting themin specific angles
2268
01:41:15,113 --> 01:41:17,782
to get the right,you know, spheres,
2269
01:41:17,849 --> 01:41:20,085
so it's almost likepattern making,
2270
01:41:20,151 --> 01:41:21,853
like you pattern make a dress.
2271
01:41:21,920 --> 01:41:25,322
- It had to have a zipper
so that the performer could get
2272
01:41:25,389 --> 01:41:28,727
in and out, so the zipper was
always on the off-camera side
2273
01:41:28,793 --> 01:41:32,697
so that at any angle thatthey shot, he looked seamless.
2274
01:41:32,764 --> 01:41:34,598
- So there were all thesemultiple suits
2275
01:41:34,666 --> 01:41:36,433
and there were layersand layers of foam,
2276
01:41:36,500 --> 01:41:38,036
which when people were
exhausted,
2277
01:41:38,103 --> 01:41:39,137
they would go and sleep on,
2278
01:41:39,204 --> 01:41:41,840
I guess we'd been
working all night.
2279
01:41:41,906 --> 01:41:44,642
- I looked out through
the mouth, so it was about
2280
01:41:44,709 --> 01:41:47,712
6-1/2 feet tallbecause I'm only 5'8."
2281
01:41:47,779 --> 01:41:49,613
If I were taller I would have
had to use more foam.
2282
01:41:49,681 --> 01:41:52,249
- The inside of the real head
was made out of fiberglass
2283
01:41:52,316 --> 01:41:55,252
and there would've been the
eyes in those and mechanisms,
2284
01:41:55,319 --> 01:41:57,521
you know, to makethe cheeks go up
2285
01:41:57,588 --> 01:41:59,157
or maybe make the mouth open.
2286
01:41:59,224 --> 01:42:00,725
- The really fun thing was
2287
01:42:00,792 --> 01:42:03,427
I puppeteeredthe Stay Puft Man's mouth,
2288
01:42:03,494 --> 01:42:05,797
so that was the really
coolest job.
2289
01:42:05,864 --> 01:42:09,768
- Discovery face,eyes to the right.
2290
01:42:09,834 --> 01:42:14,105
One and two and three and go.
2291
01:42:16,241 --> 01:42:19,944
- There was a foam spring beltinside that, when I moved,
2292
01:42:20,011 --> 01:42:24,749
there was a little bit of action
transferred to the outside.
2293
01:42:24,816 --> 01:42:27,886
- I was always talking with
the DPs about, you know,
2294
01:42:27,952 --> 01:42:32,223
how to make sure that
that Stay Puft Man...
2295
01:42:32,289 --> 01:42:33,658
loft looked just right.
2296
01:42:33,725 --> 01:42:35,693
- The direction is, "We need
you to look really heavy
2297
01:42:35,760 --> 01:42:37,729
"because you're really big,
but really light
2298
01:42:37,796 --> 01:42:39,596
because you're a marshmallow,"
so I said, what?
2299
01:42:39,664 --> 01:42:44,235
- As I was walking, I would
say, "Boom, boom, boom,"
2300
01:42:44,301 --> 01:42:48,405
in order to time it properly,
you know, and we were
2301
01:42:48,472 --> 01:42:52,076
over-cranking so that whenplayed back it looked slower.
2302
01:42:52,143 --> 01:42:55,847
They would tell me how fastthey needed it, take that down
2303
01:42:55,914 --> 01:42:59,851
by X percentage and then
I'd try to translate that
2304
01:42:59,918 --> 01:43:02,887
into a version of
"Boom, boom, boom."
2305
01:43:02,954 --> 01:43:05,089
- Filmed this guyat 72 frames a second
2306
01:43:05,156 --> 01:43:07,192
where we ended upwith something that
2307
01:43:07,258 --> 01:43:11,930
an animation walk cycle
called a double bounce walk,
2308
01:43:11,996 --> 01:43:13,965
something thatMickey Mouse did.
2309
01:43:14,032 --> 01:43:18,569
It looked really silly,
sort of...
2310
01:43:18,636 --> 01:43:20,271
sort of a '30s cartoon thing.
2311
01:43:20,337 --> 01:43:23,540
- When we were in the thick
of it and deadline was just
2312
01:43:23,607 --> 01:43:25,844
coming down and it was
very stressful, like,
2313
01:43:25,910 --> 01:43:27,611
are we gonna make it,
are we gonna make it?
2314
01:43:27,679 --> 01:43:30,048
I'm driving down CrescentHeights towards Sunset
2315
01:43:30,114 --> 01:43:33,417
and I see a "Ghostbusters"billboard,
2316
01:43:33,483 --> 01:43:38,022
and the date that it's gonna
open is in, like, 3 1/2 weeks
2317
01:43:38,089 --> 01:43:41,192
or three weeks, maybe, I don't
know, it was really soon,
2318
01:43:41,259 --> 01:43:44,262
and we still hadn't shot
the street scene, we still
2319
01:43:44,329 --> 01:43:46,931
hadn't shot Stay Pufton fire, and I'm pretty sure
2320
01:43:46,998 --> 01:43:49,100
we hadn't shot the buildingblowing up,
2321
01:43:49,167 --> 01:43:51,501
and there was the billboard
and it was like,
2322
01:43:51,568 --> 01:43:54,172
how is that gonna happen?
2323
01:43:54,239 --> 01:43:58,009
- I was afraid it was gonna be
ridiculously hot inside
2324
01:43:58,076 --> 01:44:03,848
the suit, and it was,
except that because
2325
01:44:03,915 --> 01:44:08,353
it was hollow and flexible,
when I waved my arms,
2326
01:44:08,418 --> 01:44:11,089
I got air in and out
of my mouth.
2327
01:44:11,155 --> 01:44:15,093
- Imagine that you got a big
sheet of foam
2328
01:44:15,159 --> 01:44:16,560
like in your mattress
2329
01:44:16,627 --> 01:44:20,965
and you have to live in thereunder hot, hot, hot lights,
2330
01:44:21,032 --> 01:44:24,401
and it's a giant foam thingand then you have to walk
2331
01:44:24,468 --> 01:44:25,937
and sort of dance in it,
2332
01:44:26,004 --> 01:44:28,206
and you have to do that
over and over and over again
2333
01:44:28,273 --> 01:44:32,476
and it's foam and you sweat
and you're inside this thing
2334
01:44:32,542 --> 01:44:34,312
day after day after day.
2335
01:44:34,379 --> 01:44:37,882
- Look at some ofthe backstage photos,
2336
01:44:37,949 --> 01:44:41,418
sometimes you'll see my--my
assistants like this.
2337
01:44:43,054 --> 01:44:46,758
- And Bill was a very
well kempt guy,
2338
01:44:46,824 --> 01:44:49,260
you know, but... you know.
2339
01:44:49,327 --> 01:44:52,163
- So there's a scene of me
going, ooh, dear, you know,
2340
01:44:52,230 --> 01:44:54,666
like this, like pretending
it's really bad, really foul,
2341
01:44:54,732 --> 01:44:56,167
but it wasn't.
2342
01:44:56,234 --> 01:44:57,702
- He would take that"Ghostbusters" head off
2343
01:44:57,769 --> 01:45:00,305
and it was like, whoo, baby!
2344
01:45:00,371 --> 01:45:02,774
And they did actuallysome really great things
2345
01:45:02,840 --> 01:45:04,809
on "Ghostbusters" where theymade it safe for him
2346
01:45:04,876 --> 01:45:07,679
by putting air conditioning,like, literally we would
2347
01:45:07,745 --> 01:45:11,548
shove an air conditioning tube
up his butt, you know,
2348
01:45:11,615 --> 01:45:13,751
to make sure that he was cool
inside the suit.
2349
01:45:13,818 --> 01:45:17,188
- So the interesting thing,
for me, about the size
2350
01:45:17,255 --> 01:45:21,192
of the Marshmallow Man
was setting the scale of
2351
01:45:21,259 --> 01:45:23,161
the miniature so we could
2352
01:45:23,227 --> 01:45:25,196
build the environmentaround him.
2353
01:45:25,263 --> 01:45:27,665
We built a miniatureof Central Park West
2354
01:45:27,732 --> 01:45:30,134
with the road and a bit
of park beside it
2355
01:45:30,201 --> 01:45:32,236
for the Marshmallow Man
to march up.
2356
01:45:32,303 --> 01:45:35,039
- And there was a split down
the middle of that set
2357
01:45:35,106 --> 01:45:38,042
and it was a big set,very long street set,
2358
01:45:38,109 --> 01:45:40,812
and so as Bill walked downthat street,
2359
01:45:40,878 --> 01:45:44,649
the cables followed him,
and we were pushed
2360
01:45:44,716 --> 01:45:48,152
underneath the stage
on a little wooden dolly
2361
01:45:48,219 --> 01:45:50,188
that they'd made for uswith a monitor
2362
01:45:50,254 --> 01:45:52,256
that alsohad the cable running down,
2363
01:45:52,323 --> 01:45:55,893
and we were puppeteeringas they rolled us down.
2364
01:45:55,960 --> 01:46:00,865
So it was very sort oflow-tech, did the job and it,
2365
01:46:00,932 --> 01:46:03,134
quite frankly, is one ofmy favorite movie memories,
2366
01:46:03,201 --> 01:46:06,070
I think, because there wewere, you had your monitor,
2367
01:46:06,137 --> 01:46:09,007
it was happening above you
and you could hear Bill
2368
01:46:09,073 --> 01:46:13,778
stepping above you and, and you
could see it and you were,
2369
01:46:13,845 --> 01:46:15,680
you know, puppeteering
and you really felt like
2370
01:46:15,747 --> 01:46:18,783
you were in it,
and somebody was pushing you.
2371
01:46:18,850 --> 01:46:20,550
It was just--it was fun,
you know?
2372
01:46:20,617 --> 01:46:23,121
- There was a storyboard that
was originally drawn for it
2373
01:46:23,187 --> 01:46:25,289
that showed a police car
getting crushed
2374
01:46:25,356 --> 01:46:27,859
and we were ready to do thatand we had actually started
2375
01:46:27,925 --> 01:46:29,327
on that but decidednot to do it.
2376
01:46:29,394 --> 01:46:32,063
We were also joking aboutmaybe the Marshmallow Man
2377
01:46:32,130 --> 01:46:33,530
could pick up his footand you'd see
2378
01:46:33,597 --> 01:46:35,099
the squashed police car
embedded
2379
01:46:35,166 --> 01:46:36,801
in the bottomof his foot, you know,
2380
01:46:36,868 --> 01:46:38,369
it would've beenkind of funny.
2381
01:46:40,238 --> 01:46:42,306
The only time I could really
remember in my career
2382
01:46:42,373 --> 01:46:45,176
where the production designer
of the film--in this case
2383
01:46:45,243 --> 01:46:48,946
John DeCuir--provided
construction drawings of
2384
01:46:49,013 --> 01:46:53,051
the miniatures to be built and
it was up to us to create it,
2385
01:46:53,117 --> 01:46:55,319
and we had to createthe upper two-thirds of it
2386
01:46:55,386 --> 01:46:57,255
but we didn't build it downto the ground--
2387
01:46:57,321 --> 01:46:59,623
enough for the Marshmallow Man
to climb on, basically.
2388
01:46:59,690 --> 01:47:03,294
- And you look in the window
and you can see--actually they
2389
01:47:03,361 --> 01:47:05,430
had characters in there
and they were doing
2390
01:47:05,496 --> 01:47:06,664
very interesting things.
2391
01:47:06,731 --> 01:47:08,166
- And if you look
in this window,
2392
01:47:08,232 --> 01:47:10,068
you could see two people
gettin' it on.
2393
01:47:10,134 --> 01:47:12,170
If you look over here, look at
that, look what's in there!
2394
01:47:12,236 --> 01:47:15,840
We got a picture of... the
agent that they hate the most,
2395
01:47:15,907 --> 01:47:17,408
his picture's in the window,
2396
01:47:17,475 --> 01:47:19,177
"That's the part that's
gonna blow up first!"
2397
01:47:19,243 --> 01:47:24,816
- It is a moment that we all,
in those days, looked for.
2398
01:47:24,882 --> 01:47:27,617
Our own little private
set decoration moment.
2399
01:47:27,685 --> 01:47:29,320
- No, you can't see it on film,
2400
01:47:29,387 --> 01:47:32,156
but that's how they got
a lot of the pressure off.
2401
01:47:32,223 --> 01:47:35,293
- Well, during
the earliest phases,
2402
01:47:35,359 --> 01:47:37,895
I was hoping thatwe weren't really
2403
01:47:37,962 --> 01:47:39,464
going to have to burnthe suit.
2404
01:47:39,530 --> 01:47:40,998
I thought there's going to be
2405
01:47:41,065 --> 01:47:43,501
some artificial waythat we could simulate it.
2406
01:47:43,568 --> 01:47:47,238
Richard kept saying, "No,
we're gonna light it on fire,
2407
01:47:47,305 --> 01:47:49,040
what do you think?"
2408
01:47:49,107 --> 01:47:53,377
Now, I didn't do the burns,we had stuntmen.
2409
01:47:53,444 --> 01:47:58,950
We only made 18 costumes
and we only burnt 17 of them.
2410
01:47:59,016 --> 01:48:02,920
- Thaine Morris had come up
with some sort of scalable fire
2411
01:48:02,987 --> 01:48:05,089
that only lasted
for two seconds.
2412
01:48:05,156 --> 01:48:08,526
- I was so busy at that time
that I hired Joe Viskocil
2413
01:48:08,593 --> 01:48:10,128
to help me with Stay Puft.
2414
01:48:10,194 --> 01:48:13,297
We worked out a wayto load him and coat him
2415
01:48:13,364 --> 01:48:15,700
with flammable material.
2416
01:48:15,766 --> 01:48:19,270
- It was the start of some sort
of chemical reaction and it was
2417
01:48:19,337 --> 01:48:22,273
a slow, little, tiny flame
so the first two seconds
2418
01:48:22,340 --> 01:48:26,077
would actually work in scale,
because fire doesn't scale.
2419
01:48:26,144 --> 01:48:30,982
- Well, the actual EPA came in
and talked to us about
2420
01:48:31,048 --> 01:48:32,884
the differentenvironmental hazards
2421
01:48:32,950 --> 01:48:34,919
of everything we were doing,
2422
01:48:34,986 --> 01:48:38,389
and it put the fear of God
in me, I mean, foam on fire
2423
01:48:38,456 --> 01:48:40,458
is a dangerous thing,you know,
2424
01:48:40,525 --> 01:48:42,293
and there's a guy inside thesuit and we had been taught
2425
01:48:42,360 --> 01:48:44,395
by the EPA that the fumesthat were going to be
2426
01:48:44,462 --> 01:48:46,364
coming out of the suitwere dangerous.
2427
01:48:46,430 --> 01:48:49,967
- It really set off
some really noxious gas.
2428
01:48:50,034 --> 01:48:52,970
- But the guy in the suit,
it was very frightening.
2429
01:48:53,037 --> 01:48:56,774
- That's--it's a hard thing
to do, is to get in there
2430
01:48:56,841 --> 01:48:59,710
and to volunteer
2431
01:48:59,777 --> 01:49:02,346
having yourself be
put ablaze.
2432
01:49:02,413 --> 01:49:05,716
- First person inside the suit
that was just kind of stunt card
2433
01:49:05,783 --> 01:49:07,785
Thaine was working with.
- That's right.
2434
01:49:07,852 --> 01:49:09,754
- So we had him on a scuba gear
2435
01:49:09,820 --> 01:49:11,422
with a hose running uphis pant leg.
2436
01:49:11,489 --> 01:49:14,192
He was quite safeinside this suit.
2437
01:49:14,258 --> 01:49:16,127
- The guy had neverdone this before.
2438
01:49:16,194 --> 01:49:19,030
They lit him on fire
and he just sort of got scared
2439
01:49:19,096 --> 01:49:20,666
and fell to the ground.
2440
01:49:20,731 --> 01:49:23,467
- We put him out,
ruined one $20,000 suit.
2441
01:49:23,534 --> 01:49:26,237
So we put him in the suitthe next night,
2442
01:49:26,304 --> 01:49:27,939
same thing happens,he goes down.
2443
01:49:28,005 --> 01:49:29,774
Okay, so what's going on?
2444
01:49:29,840 --> 01:49:32,410
"Well, I can't see,
I'm afraid of fire."
2445
01:49:32,476 --> 01:49:35,880
Why did you sign up
to do this anyway?
2446
01:49:35,947 --> 01:49:37,949
- Actually, I think
he just couldn't hear.
2447
01:49:38,015 --> 01:49:39,850
- So that means
we're in a panic,
2448
01:49:39,917 --> 01:49:41,485
we've got one suit left.
2449
01:49:41,552 --> 01:49:44,622
So there's a guy in town whose
name is Tony Cecere.
2450
01:49:44,690 --> 01:49:48,359
Tony has spent his entire lifeburning himself up.
2451
01:49:48,426 --> 01:49:53,364
- A friend of mine called me up
and said, "I've got this show
2452
01:49:53,431 --> 01:49:56,968
that we're doing down here
in Santa Monica," he said
2453
01:49:57,034 --> 01:50:00,404
it was a low-budget show
and he needed a fire burn on it
2454
01:50:00,471 --> 01:50:03,274
and wanted me to come down
and do a fire burn on the show,
2455
01:50:03,341 --> 01:50:06,377
and he wouldn't tell me any more
about the show other than that.
2456
01:50:06,444 --> 01:50:08,946
And I had done
some research on it
2457
01:50:09,013 --> 01:50:10,915
before I went down to see him
and found out
2458
01:50:10,982 --> 01:50:12,917
that it wasn't
any low-budget show
2459
01:50:12,984 --> 01:50:15,654
and we adjusted
my price accordingly.
2460
01:50:15,721 --> 01:50:18,856
- The suit was built for a guy
that was about 6-foot tall.
2461
01:50:18,923 --> 01:50:21,325
Tony's about 5'4",
he's a little guy.
2462
01:50:21,392 --> 01:50:24,128
- I was more concerned withwhenever you catch Styrofoam
2463
01:50:24,195 --> 01:50:27,898
on fire, it tends to completely
burn up all at once,
2464
01:50:27,965 --> 01:50:31,202
so before I got ready
to do the fire burn,
2465
01:50:31,269 --> 01:50:32,837
we took a piece of the foam
2466
01:50:32,903 --> 01:50:34,305
that the Stay Puft manwas made out of
2467
01:50:34,372 --> 01:50:36,907
and we set it on fireand we'd seen that the stuff
2468
01:50:36,974 --> 01:50:38,710
wouldn't burn,which made me feel safe.
2469
01:50:38,776 --> 01:50:42,246
So I put my fire suit on and
was inside the Stay Puft Man--
2470
01:50:42,313 --> 01:50:45,116
- The action is to walk over
to that apple box, step up on it
2471
01:50:45,182 --> 01:50:47,151
and slap the top of that church.
"Yes, sir."
2472
01:50:47,218 --> 01:50:49,854
- I had to rehearse several
times because they wanted me
2473
01:50:49,920 --> 01:50:53,157
to go up a building a certain
way and they wanted one hand
2474
01:50:53,224 --> 01:50:55,226
to hit here,one hand to hit here.
2475
01:50:55,293 --> 01:50:57,862
- We were ready to go,we light him up,
2476
01:50:57,928 --> 01:50:59,497
he walks over,steps on the apple box,
2477
01:50:59,563 --> 01:51:01,198
steps up on the thing,slaps the top,
2478
01:51:01,265 --> 01:51:03,100
backs off the apple box,
squats down,
2479
01:51:03,167 --> 01:51:06,003
stands up again, steps up
on the apple box,
2480
01:51:06,070 --> 01:51:07,538
slaps the top of the church.
2481
01:51:07,605 --> 01:51:11,509
- And I think it was the second
take, the head got hot
2482
01:51:11,575 --> 01:51:14,812
from the fire on the outsideof it and the head split open,
2483
01:51:14,879 --> 01:51:18,382
and inside of the suit whereI was at was on fire too.
2484
01:51:18,449 --> 01:51:21,385
- When we finally got him
to stop, the pink skull
2485
01:51:21,452 --> 01:51:25,189
under the Stay Puft was
all that was left on his head.
2486
01:51:25,256 --> 01:51:26,891
The suit had burnedclear through
2487
01:51:26,957 --> 01:51:28,794
to the polyurethane foam.
2488
01:51:28,859 --> 01:51:30,494
- What happened
on the inside,
2489
01:51:30,561 --> 01:51:32,963
the glue that they used to
put it together, all the glue
2490
01:51:33,030 --> 01:51:34,800
on the inside of the head
started burning.
2491
01:51:34,865 --> 01:51:38,770
- We just stopped, you know,
went over, put him out.
2492
01:51:38,836 --> 01:51:40,137
He goes,
"Well, I could've kept going,
2493
01:51:40,204 --> 01:51:42,440
I wasn't feeling any heat."
2494
01:51:42,506 --> 01:51:46,510
- Imagine waking up in bed
at two in the morning,
2495
01:51:46,577 --> 01:51:49,847
looking over at my wife
and saying,
2496
01:51:49,914 --> 01:51:52,751
he didn't have his tie on.
2497
01:51:52,818 --> 01:51:54,786
Joe Viskocil, the pyro guy,
2498
01:51:54,852 --> 01:51:58,055
he had the bib and he wasloading flashbulbs
2499
01:51:58,122 --> 01:51:59,990
into the biband putting squibs on it
2500
01:52:00,057 --> 01:52:01,992
and little spark generators,
2501
01:52:02,059 --> 01:52:04,696
and I said, he--you gotta
put that tie on there.
2502
01:52:04,763 --> 01:52:06,798
He said, "I just--
I don't want to mess it up,
2503
01:52:06,864 --> 01:52:10,501
I'm gonna lean on it and I just
don't want it messed up."
2504
01:52:10,568 --> 01:52:12,470
I said, okay, all right,
okay, we'll get it on there.
2505
01:52:12,536 --> 01:52:16,073
And then put the guy
in the suit, light him up
2506
01:52:16,140 --> 01:52:18,710
and then realizea few hours later
2507
01:52:18,777 --> 01:52:21,345
that that one little stepgot skipped.
2508
01:52:21,412 --> 01:52:25,416
We had just seen
the screening of that shot
2509
01:52:25,483 --> 01:52:28,252
and there was applause
all around.
2510
01:52:28,319 --> 01:52:31,522
I had to go to Michael Grossto admit to him that
2511
01:52:31,589 --> 01:52:34,325
as nice as the shot looked,there was a part missing
2512
01:52:34,392 --> 01:52:36,728
and we would have todo it again.
2513
01:52:36,795 --> 01:52:39,497
- And he said,"There's so much else
2514
01:52:39,563 --> 01:52:41,932
"going on in that shot--we've got Nutrona wands,
2515
01:52:41,999 --> 01:52:44,502
"we got the guys standing upthere, we got flashbulbs
2516
01:52:44,568 --> 01:52:46,705
"going off--probablyno one will notice it.
2517
01:52:46,772 --> 01:52:48,372
"But if they do,
2518
01:52:48,439 --> 01:52:51,609
who should I chargethe $30,000 reshoot to?"
2519
01:52:51,676 --> 01:52:53,812
I pointed.
2520
01:52:53,879 --> 01:52:56,280
- When anybody makes a movie,
the first thing they're gonna
2521
01:52:56,347 --> 01:52:58,516
tell you is it's the most fun
if you get to blow stuff up.
2522
01:52:58,582 --> 01:53:00,418
- So we worked pretty closely
with Thaine Morris
2523
01:53:00,484 --> 01:53:02,486
on constructing a blast chamber
2524
01:53:02,553 --> 01:53:04,723
for them to go to
the temple to go up in.
2525
01:53:04,790 --> 01:53:07,191
- John had something
very specific in mind
2526
01:53:07,258 --> 01:53:08,727
and he had these photographs
2527
01:53:08,794 --> 01:53:11,362
where you saw these plumesthat spidered out
2528
01:53:11,429 --> 01:53:13,531
in these quadrants like that.
- Yeah.
2529
01:53:13,597 --> 01:53:15,767
- He drew that onthe storyboards.
2530
01:53:15,834 --> 01:53:18,637
- And it was made so
we could do multiple takes.
2531
01:53:18,703 --> 01:53:21,205
- The inside of it
and all of the framework
2532
01:53:21,272 --> 01:53:24,008
were quite strong steel.
2533
01:53:24,074 --> 01:53:25,844
- It was way overbuilt,so there was really no chance
2534
01:53:25,911 --> 01:53:27,813
it was going to do anythingbut blow the doors out,
2535
01:53:27,879 --> 01:53:29,580
which is what we wanted,
2536
01:53:29,648 --> 01:53:33,551
so Thaine could go up and put
his bomb inside and we'd just
2537
01:53:33,617 --> 01:53:36,721
stand back and watch him
blow up our building.
2538
01:53:36,788 --> 01:53:40,458
- There was four, not three,
bombs in that building.
2539
01:53:40,524 --> 01:53:43,160
- And so I said,
where's the best place to be?
2540
01:53:43,227 --> 01:53:44,562
- I said, behind me.
2541
01:53:44,628 --> 01:53:47,565
- I said, great, and we set
the camera up and we had
2542
01:53:47,631 --> 01:53:49,801
all this acrylic
that was for safety purposes,
2543
01:53:49,868 --> 01:53:51,368
didn't shatter and all that.
2544
01:53:51,435 --> 01:53:53,638
Here we are, we're gettingready, camera's going,
2545
01:53:53,705 --> 01:53:55,339
"Speed!"
2546
01:53:55,406 --> 01:53:58,643
And I'm pressing my cameraand everything explodes.
2547
01:54:01,078 --> 01:54:02,814
I got smacked
right in the forehead.
2548
01:54:02,881 --> 01:54:05,483
- One of the few times
I've ever hurt anybody.
2549
01:54:05,549 --> 01:54:08,552
- This is where the blood just
starts coming down and, uh,
2550
01:54:08,619 --> 01:54:12,657
what had happened is that
this little bench blew up,
2551
01:54:12,724 --> 01:54:16,227
went in the air,came right through the glass,
2552
01:54:16,293 --> 01:54:18,996
bounced over and knocked me
right in the head.
2553
01:54:19,063 --> 01:54:22,266
- The shot he got washis camera was with terpene,
2554
01:54:22,333 --> 01:54:25,670
the crossing fireball
with the bench
2555
01:54:25,737 --> 01:54:28,640
right in front of the camera,
out of focus.
2556
01:54:28,707 --> 01:54:31,408
- When Ivan saw that he wanted
us to reshoot it because
2557
01:54:31,475 --> 01:54:33,444
he was--he was actually
really pissed.
2558
01:54:33,511 --> 01:54:35,479
He said,"They'd have been killed,"
2559
01:54:35,546 --> 01:54:37,883
and I said, well, yeah,isn't that the joke?
2560
01:54:37,949 --> 01:54:40,284
Because here's the drawing.
2561
01:54:40,351 --> 01:54:42,219
That's when everybody startedusing storyboards
2562
01:54:42,286 --> 01:54:45,055
as documents--hey, we said
we were gonna do this,
2563
01:54:45,122 --> 01:54:47,893
it looks like that,
that's what we did.
2564
01:54:47,959 --> 01:54:50,962
And so sort of ended upre-cutting the rooftop scene
2565
01:54:51,028 --> 01:54:55,266
just before it blows, each onedives out of the way.
2566
01:54:57,134 --> 01:55:00,337
- There was a big bag of the
shaving cream and I was gonna
2567
01:55:00,404 --> 01:55:01,873
stand and it falls on me,
2568
01:55:01,940 --> 01:55:03,507
and I went, well,you know, how much
2569
01:55:03,574 --> 01:55:06,043
shaving cream is in this thing
you're gonna--that's gonna
2570
01:55:06,110 --> 01:55:08,546
fall on me, and they said,
"Well, you know, I don't know,
2571
01:55:08,612 --> 01:55:12,516
you know, maybe 75 pounds,"and I said, wow, that's a lot.
2572
01:55:12,583 --> 01:55:14,418
And they said, "Well, it'sshaving cream," and I said,
2573
01:55:14,485 --> 01:55:16,655
you know, I remember fromjunior high school
2574
01:55:16,721 --> 01:55:19,991
that 75 pounds of feathersand 75 pounds of lead
2575
01:55:20,057 --> 01:55:22,560
is the same 75 pounds.
2576
01:55:22,626 --> 01:55:26,096
Okay, Mr. Sensitive,so let's get a stunt guy,
2577
01:55:26,163 --> 01:55:28,299
show him that it's all right,
2578
01:55:28,365 --> 01:55:30,467
and so they put the stunt guy
underneath and they open
2579
01:55:30,534 --> 01:55:34,039
the shaving cream and they
laid out on the stunt guy...
2580
01:55:34,104 --> 01:55:35,774
just laid him out.
2581
01:55:35,840 --> 01:55:38,475
And I said, well, that's what
I'm worried about for me.
2582
01:55:38,542 --> 01:55:41,880
- And Ivan and Joe were up on
a truck and they saw me coming
2583
01:55:41,947 --> 01:55:44,248
and he goes, "Gross, get up
here, this is gonna be great!
2584
01:55:44,315 --> 01:55:45,784
Get up here,
this is gonna be great!"
2585
01:55:45,850 --> 01:55:49,086
- And so they--they made it
a little less
2586
01:55:49,153 --> 01:55:50,722
and I went and I did it.
2587
01:55:50,789 --> 01:55:53,024
- I get up in the truck and
they drop the marshmallows,
2588
01:55:53,090 --> 01:55:54,525
it was unbelievable.
2589
01:55:54,592 --> 01:55:56,226
- And they dumped it on him...
2590
01:55:56,293 --> 01:55:57,595
once.
2591
01:56:00,699 --> 01:56:03,467
- We headed for bed, we got the
shoot until I think it was 10:00
2592
01:56:03,534 --> 01:56:06,871
at night and at 10:00 at nightour best friends,
2593
01:56:06,938 --> 01:56:09,741
the New York City police,became our worst enemies,
2594
01:56:09,808 --> 01:56:12,877
they said, "Yo, get this stuff
off here! Move it, move it!"
2595
01:56:12,944 --> 01:56:14,311
You know, just like...
2596
01:56:19,149 --> 01:56:21,352
- So we decided this moviehas to be screened.
2597
01:56:21,418 --> 01:56:23,021
We're testing cards,
2598
01:56:23,088 --> 01:56:25,522
just so the marketing peopleknow where its strengths are.
2599
01:56:25,589 --> 01:56:27,291
At this point,
regardless of that,
2600
01:56:27,358 --> 01:56:29,393
you got a finished movie
pretty much.
2601
01:56:29,460 --> 01:56:32,329
- At that time, Seattle,
Washington was the place
2602
01:56:32,396 --> 01:56:34,131
that everybody goes,
the studios.
2603
01:56:34,198 --> 01:56:37,434
- Screening is clearly we have
a hit, clearly we have a hit,
2604
01:56:37,501 --> 01:56:39,871
and we're scoringin the 90s,
2605
01:56:39,938 --> 01:56:42,073
we're scoring unbelievable.
2606
01:56:42,139 --> 01:56:43,975
So we run back onto
our private jet,
2607
01:56:44,042 --> 01:56:45,677
we whiz it off
to go back to LA,
2608
01:56:45,744 --> 01:56:47,411
and everybody's gota pile of cards.
2609
01:56:47,478 --> 01:56:49,446
So everybody's going,
"Here's one!
2610
01:56:49,513 --> 01:56:52,483
Best fuckin' movie
ever made!"
2611
01:56:52,549 --> 01:56:54,653
"Best movie ever, ever!"
2612
01:56:54,719 --> 01:56:58,422
It was--and we were throwing
them in the air, deliriously,
2613
01:56:58,489 --> 01:57:02,626
I mean, realizing,
this is good,
2614
01:57:02,694 --> 01:57:04,528
this is so good.
2615
01:57:04,595 --> 01:57:07,364
- It was wonderful to see that
first screening and to hear
2616
01:57:07,431 --> 01:57:09,299
the laughs and to
just know we had something
2617
01:57:09,366 --> 01:57:10,969
that the people
were gonna love.
2618
01:57:11,036 --> 01:57:12,369
- I really don't remember
2619
01:57:12,436 --> 01:57:13,604
the first screening
of "Ghostbusters."
2620
01:57:13,672 --> 01:57:15,272
I do remember
the wrap party, though,
2621
01:57:15,339 --> 01:57:16,941
we can't get into that here.
2622
01:57:17,008 --> 01:57:19,576
- What was cool was that we were
there and the crew was there,
2623
01:57:19,644 --> 01:57:22,312
but there's a lot of people who
hadn't seen any of the film--
2624
01:57:22,379 --> 01:57:23,948
there's administration--
2625
01:57:24,015 --> 01:57:26,651
- People that had worked on
the live action often have
2626
01:57:26,718 --> 01:57:28,720
no idea what the film
is gonna look like.
2627
01:57:28,787 --> 01:57:34,159
- I just couldn't believe how
good it was and how exciting
2628
01:57:34,224 --> 01:57:35,927
it was to be
a part of it, I mean,
2629
01:57:35,994 --> 01:57:37,696
you wait for the credits.
2630
01:57:37,762 --> 01:57:41,298
- And that's when we learned
that not everyone's names
2631
01:57:41,365 --> 01:57:42,701
were put in the credits.
2632
01:57:42,767 --> 01:57:44,936
- My wife at the time
turned to me and said,
2633
01:57:45,003 --> 01:57:48,106
"So where were you every day
for a year?"
2634
01:57:48,173 --> 01:57:52,309
I really--I went, I was there,
I worked on the picture.
2635
01:57:52,376 --> 01:57:54,145
- It was totally random--
2636
01:57:54,211 --> 01:57:57,716
I submitted a list of everyone
who worked in the film.
2637
01:57:57,782 --> 01:57:59,851
- There were 160 people whoworked on "Ghostbusters"
2638
01:57:59,918 --> 01:58:03,121
who were also at inthe Boss Film, of those
2639
01:58:03,188 --> 01:58:06,623
I think about a hundreddid not get credit who worked
2640
01:58:06,691 --> 01:58:10,561
on the film, and I mean, really
worked, like 20 hour days,
2641
01:58:10,627 --> 01:58:12,596
like six or seven day weeks.
2642
01:58:12,664 --> 01:58:15,599
- And people who did
major things were deleted
2643
01:58:15,667 --> 01:58:18,937
from the list and people who
did insignificant things
2644
01:58:19,003 --> 01:58:20,071
were on the list.
2645
01:58:20,138 --> 01:58:21,873
- For whatever reason,
2646
01:58:21,940 --> 01:58:25,110
the studio said you could only
have so many credits.
2647
01:58:25,176 --> 01:58:27,946
I don't know if they were
running out of letters.
2648
01:58:28,012 --> 01:58:30,648
- And then we had a wrap party
on a beach and Richard
2649
01:58:30,715 --> 01:58:33,184
tells me right there,"I've taken out an article
2650
01:58:33,250 --> 01:58:36,286
"in 'Variety' and I've namedevery single person
2651
01:58:36,353 --> 01:58:39,758
that worked on 'Ghostbusters'whose name was left off."
2652
01:58:39,824 --> 01:58:42,927
You know, if he's apologizing
to me, he's apologizing
2653
01:58:42,994 --> 01:58:45,429
to every single person
that he left,
2654
01:58:45,496 --> 01:58:47,766
and I thought that took
a lot of integrity.
2655
01:58:47,832 --> 01:58:51,035
- But I didn't see the movie,
until, I think, we premiered it,
2656
01:58:51,102 --> 01:58:55,539
and I went to the premiereand it was just real crazy.
2657
01:58:55,606 --> 01:58:59,644
- We were just so wide eyed
ourselves at--
2658
01:58:59,711 --> 01:59:01,612
couldn't believe it, I mean,
2659
01:59:01,679 --> 01:59:03,547
the Marshmallow Man
looked so real to us,
2660
01:59:03,614 --> 01:59:05,616
we were just like, oh!
2661
01:59:05,683 --> 01:59:08,920
- The big film of that time
that everybody was anticipating
2662
01:59:08,987 --> 01:59:11,156
was "Indiana Jonesand the Temple of Doom,"
2663
01:59:11,222 --> 01:59:12,690
so were kind of off the radar
2664
01:59:12,757 --> 01:59:15,059
and the word started to get out
on these test screenings
2665
01:59:15,126 --> 01:59:16,293
that it was funny.
2666
01:59:16,360 --> 01:59:17,962
We were shocked as anybody.
2667
01:59:18,029 --> 01:59:21,132
- You're driving down the street
in your Trans Am and Ray Parker
2668
01:59:21,199 --> 01:59:23,333
comes on singing because
everyone's digging your movie
2669
01:59:23,400 --> 01:59:26,237
and it was a great feeling,
it was a fun movie to work on.
2670
01:59:26,303 --> 01:59:30,574
- It was this rough edged,"devil may care" picture
2671
01:59:30,642 --> 01:59:34,712
with a lot of great comedy
actors and crazy monsters.
2672
01:59:34,779 --> 01:59:37,215
- When you get people like
Dan Aykroyd and Bill Murray,
2673
01:59:37,282 --> 01:59:41,318
Harold Ramis and Ivan Reitman,
all these incredibly
2674
01:59:41,385 --> 01:59:44,722
funny people that don't have
huge egos that just wanted
2675
01:59:44,789 --> 01:59:47,125
to win and make the best thing
they can.
2676
01:59:47,192 --> 01:59:50,195
They're thinking aboutevery detail, every nuance of
2677
01:59:50,261 --> 01:59:52,730
the story and the script and
the performance, the comedy,
2678
01:59:52,797 --> 01:59:54,799
and the highs and the lows
and the arcs.
2679
01:59:54,866 --> 01:59:57,202
So they get together
and they co-create,
2680
01:59:57,268 --> 01:59:59,804
and I think that group of people
co-created a masterpiece.
2681
01:59:59,871 --> 02:00:03,208
- And the whole town benefitted
from it--it was stimulating.
2682
02:00:03,274 --> 02:00:05,777
- We didn't really, I don't even
dare think that that year
2683
02:00:05,844 --> 02:00:07,477
we would be the biggest movie
of the year.
2684
02:00:07,544 --> 02:00:11,348
But we thought it was gonna be
good and I think, to be honest,
2685
02:00:11,415 --> 02:00:13,584
I think I thought
it was gonna be classic.
2686
02:00:13,651 --> 02:00:15,987
- At a certain point,
when I think we were number one
2687
02:00:16,054 --> 02:00:18,555
at the box office for,you know, I think it went on
2688
02:00:18,622 --> 02:00:20,325
for five or six weeksin a row.
2689
02:00:20,390 --> 02:00:21,826
- It was certainly a good way
2690
02:00:21,893 --> 02:00:23,895
to start out your career
in the movie business.
2691
02:00:23,962 --> 02:00:26,965
- Robert Goizueta, the exchairman and CEO of Coca-Cola,
2692
02:00:27,031 --> 02:00:28,565
he didn't like the movie
2693
02:00:28,633 --> 02:00:32,270
until he saw the $250 million
blip in their revenue
2694
02:00:32,337 --> 02:00:34,038
and he was very happy.
2695
02:00:34,105 --> 02:00:35,840
- You know,
it's hard for me to say
2696
02:00:35,907 --> 02:00:38,776
because it's so
incredibly competitive,
2697
02:00:38,843 --> 02:00:41,578
but I thought Ivan did
an amazingly good job.
2698
02:00:41,646 --> 02:00:43,982
- You know, mixing genres,
particularly with comedy--
2699
02:00:44,048 --> 02:00:47,318
horror-comedies, science fiction
comedies--are particularly
2700
02:00:47,384 --> 02:00:51,856
hard to do because one of the
genres tends to sort of weaken
2701
02:00:51,923 --> 02:00:55,326
the other one, and we happened
to get away with it.
2702
02:00:55,392 --> 02:00:57,527
- Even people in the industry
who were jealous of us
2703
02:00:57,594 --> 02:00:58,963
had to go,
"Oh, well, you know,
2704
02:00:59,030 --> 02:01:00,631
you gotta be happy
for these guys."
2705
02:01:00,698 --> 02:01:03,268
- The empowering message
of "Ghostbusters" is that
2706
02:01:03,334 --> 02:01:06,738
no matter what monsters
we create in the world,
2707
02:01:06,804 --> 02:01:09,007
that if we have the courage,
2708
02:01:09,073 --> 02:01:12,043
the tools and the technology,the talent
2709
02:01:12,110 --> 02:01:15,013
and the fortitude, we can
deal with pretty much anything.
2710
02:01:22,452 --> 02:01:23,821
- Are you troubled
by strange noises
2711
02:01:23,888 --> 02:01:25,489
in the middle of the night?
2712
02:01:25,555 --> 02:01:28,425
- Do you experience feelings of
dread in your basement or attic?
2713
02:01:28,492 --> 02:01:31,461
- If the answer is yes,
then don't wait another minute.
2714
02:01:31,528 --> 02:01:33,932
- Pick up the phone
and call the professions.
2715
02:01:33,998 --> 02:01:35,300
- Ghostbusters.
2716
02:01:35,366 --> 02:01:37,669
We're ready to believe you!
2717
02:01:50,381 --> 02:01:53,284
♪ Fighting ghosts ♪
2718
02:01:53,351 --> 02:01:56,553
♪ Proton blast ♪
2719
02:01:56,620 --> 02:01:59,824
♪ Zapping ghosts ♪
2720
02:01:59,891 --> 02:02:03,261
♪ We'll be fast ♪
2721
02:02:03,328 --> 02:02:06,297
♪ Fighting ghosts ♪
2722
02:02:06,364 --> 02:02:09,466
♪ Proton blast ♪
2723
02:02:09,533 --> 02:02:12,403
♪ We'll be fast ♪
2724
02:02:12,469 --> 02:02:16,240
♪ Take it slow(Oh I could see you baby) ♪
2725
02:02:16,307 --> 02:02:18,376
♪ No no no ♪
2726
02:02:18,443 --> 02:02:22,146
♪ You can't see them,you can't see them ♪
2727
02:02:22,213 --> 02:02:25,149
♪ No no no ♪
2728
02:02:25,216 --> 02:02:28,653
♪ You can't see them,you can't see them ♪
2729
02:02:28,720 --> 02:02:31,889
♪ No no no ♪
2730
02:02:31,956 --> 02:02:35,159
♪ You can't see them,you can't see them ♪
2731
02:02:35,226 --> 02:02:38,029
♪ No no no ♪
2732
02:02:38,096 --> 02:02:41,565
♪ You can't see them,you can't see them ♪
2733
02:03:00,584 --> 02:03:01,786
- You're not giving me
enough chance
2734
02:03:01,853 --> 02:03:03,388
to drink between the shots.
2735
02:03:05,490 --> 02:03:08,726
Take it down a minute.
2736
02:03:12,797 --> 02:03:17,301
- Oh, my God, I'm worth
the price of New York!
2737
02:03:17,368 --> 02:03:19,569
- The guy in the hardhat
ended up being my son's
2738
02:03:19,637 --> 02:03:23,174
English teacher and my son ended
up getting into an Ivy League
2739
02:03:23,241 --> 02:03:27,178
school and majoring in English
because of that guy.
2740
02:03:30,081 --> 02:03:32,417
- Paparazzi guy, this guy Steve
Sands, who's sort of famous
2741
02:03:32,483 --> 02:03:36,754
in New York, he's--you know,
you confront him and he's just--
2742
02:03:36,821 --> 02:03:39,290
he knows karate
and doesn't really.
2743
02:03:39,357 --> 02:03:41,459
So he's reallygiving me a hard time
2744
02:03:41,526 --> 02:03:43,828
on Central Park West.There was an extra,
2745
02:03:43,895 --> 02:03:45,363
a fairly large mandressed as
2746
02:03:45,430 --> 02:03:49,033
a Hasidic Jew who just got
fed up with Steve, grabbed him,
2747
02:03:49,100 --> 02:03:51,469
carried him across
Central Park West
2748
02:03:51,536 --> 02:03:53,171
and then threw him
onto the wall.
2749
02:03:53,237 --> 02:03:56,240
And then he came back and said,
"That man was very irritating,"
2750
02:03:56,307 --> 02:03:59,744
I said, "Yes, the man
was very irritating."
2751
02:03:59,811 --> 02:04:01,646
- ♪ Let's make some ♪
2752
02:04:55,433 --> 02:04:57,468
- ...comes out and tells someone
or something like that
2753
02:04:57,535 --> 02:05:01,639
and he said, "No, you weren't!"
And then I go...
2754
02:05:03,975 --> 02:05:05,343
See?
2755
02:05:05,409 --> 02:05:07,678
All of a sudden they say,
"It's true, it's true,
2756
02:05:07,745 --> 02:05:09,680
you really were!"
2757
02:05:15,720 --> 02:05:18,389
- ♪ I'm a little Ghostbuster ♪
2758
02:05:18,456 --> 02:05:21,325
♪ Sigourney is my name ♪
2759
02:05:21,392 --> 02:05:23,394
♪ This picture costa lot of bread ♪
2760
02:05:23,461 --> 02:05:27,231
♪ So let's hopeit makes the same ♪
2761
02:05:27,298 --> 02:05:29,500
♪ I played the damselin distress ♪
2762
02:05:29,567 --> 02:05:33,137
♪ And we knowwhat that entails ♪
2763
02:05:33,204 --> 02:05:37,942
♪ An icebox put the moveson me and I woke up in ♪
2764
02:05:38,009 --> 02:05:40,778
♪ Dog entrails ♪
2765
02:05:44,882 --> 02:05:47,084
♪ I was attackedby leaping eggs ♪
2766
02:05:47,151 --> 02:05:50,621
♪ And molested by a chair ♪
2767
02:05:50,688 --> 02:05:56,494
♪ Levitated more than onceand I think that is fair ♪
2768
02:05:56,561 --> 02:06:02,466
♪ Blown away and barbecued,devoured by a terror pooch ♪
2769
02:06:02,533 --> 02:06:07,104
♪ I crawled out of hishaunches and Pete Venkman ♪
2770
02:06:07,171 --> 02:06:09,707
♪ He gave me a smooch ♪
2771
02:06:11,609 --> 02:06:13,744
♪ I think inevery dangerous scene ♪
2772
02:06:13,811 --> 02:06:17,181
♪ I had some part to play ♪
2773
02:06:17,248 --> 02:06:21,886
♪ My thanks and my affectionto special effects ♪
2774
02:06:21,953 --> 02:06:23,988
♪ You really blew me away ♪
2775
02:06:27,693 --> 02:06:29,894
♪ You really blew me away ♪
2776
02:06:34,999 --> 02:06:37,268
♪ I've always feltso much support ♪
2777
02:06:37,335 --> 02:06:40,706
♪ And humor in this crew ♪
2778
02:06:40,771 --> 02:06:42,974
♪ To each and everysingle one of you ♪
2779
02:06:43,040 --> 02:06:46,777
♪ I'd like to say"Thank You" ♪
2780
02:06:46,844 --> 02:06:48,613
♪ Our cast is an ensemble ♪
2781
02:06:48,680 --> 02:06:52,450
♪ Ernie's niceand Anne's a honey ♪
2782
02:06:52,516 --> 02:06:57,521
♪ Ivan's always quick to laughbut Bill Atherton and I ♪
2783
02:06:57,588 --> 02:06:59,790
♪ Are never funny ♪
2784
02:07:02,026 --> 02:07:07,198
♪ I have a crush on Haroldand Danny is a dream ♪
2785
02:07:07,265 --> 02:07:11,836
♪ Moranis is my demonand Ivan ♪
2786
02:07:11,902 --> 02:07:14,238
♪ He always makes me scream ♪
2787
02:07:30,087 --> 02:07:31,822
That will do.
245469
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