Ghostbusters Got Another Pass
Some classics are forged with Protonic lightning! Case and Sam are joined by Gen Moonen to look at the frenzy that was the production of the original Ghostbusters, because they ain't afraid of no ghosts!
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Production Origins: Aykroyd's family history with spiritualism shaped the film's unique blend of truth and humor.
Title Rights Issues: Securing the Ghostbusters name rights delayed production, costing $500,000 plus 1% gross profits amid disputes.
Casting Changes: John Belushi's death shifted casting; Harold Ramis became Egon after many notable actors auditioned.
Filming Challenges: Principal photography compressed into under two months, requiring quick shots and guerrilla-style filming in New York.
Financial Results: Despite grossing $295 million, Hollywood accounting practices left the film reportedly unprofitable for the studio.
Cultural Impact: Ghostbusters remains a cultural touchstone, known for its humor and iconic characters, spawning multiple sequels.
Notes
Production Challenges and Creative Origins
The making of Ghostbusters was a remarkable feat of rapid, pressured production anchored by Dan Aykroyd’s deep personal connection to the occult and a blend of comedy with serious supernatural themes (14:08).
Aykroyd’s family history with spiritualism shaped the film’s authentic portrayal of ghosts and the supernatural, giving the script a unique blend of truth and humor.
The original script was massive, spanning hundreds of pages and including complex sci-fi elements and multiple dimensions, but was drastically scaled back to focus on ghost hunting to fit budget and production constraints.
Inspired by a quantum physics paper and classic Abbott and Costello comedies, the film married scientific ideas with slapstick humor, reflecting both cultural and cinematic influences of the early 1980s.
The film faced significant hurdles securing the Ghostbusters name rights, which delayed production and complicated branding (19:25).
The title was contested due to a 1970s live-action TV show also called Ghostbusters, forcing the later cartoon to be named The Real Ghostbusters.
Producer Frank Price, after moving from Columbia Pictures to Universal, negotiated rights for $500,000 plus 1% of gross profits, though the studio reportedly never paid due to accounting disputes.
These naming issues led to last-minute changes on set, including alternate chants and signage, underlining the film’s rushed nature.
Casting Dynamics and Character Development
The original plan featured a Belushi-Aykroyd duo, but following John Belushi’s death, the cast and character roles shifted dramatically (22:55).
Eddie Murphy was rumored to have been considered for Winston Zeddemore, whose role was reduced after star power concerns, limiting his screen time and character development.
Harold Ramis, originally a writer, stepped into the role of Egon after several notable actors including John Lithgow, Christopher Lloyd, Jeff Goldblum, and Michael Keaton auditioned.
Sigourney Weaver influenced her character by making Dana Barrett a cellist, adding depth and credibility, while John Candy was considered for Louis Tully but declined due to creative differences.
The cast’s mix of Second City alumni and theater actors brought contrasting energies that grounded the film’s tone (33:14).
Theater actors like Annie Potts and Sigourney Weaver delivered strong, no-nonsense performances that balanced the improvisational style of the comedy actors.
Despite some ad-libbing, the script was tightly adhered to due to the tight schedule, ensuring the film stayed coherent amidst creative improvisation.
The dynamic of the cast and their varied backgrounds helped the film maintain a fast, sharp comedic pace under extreme time pressures.
Rushed Filming and Special Effects Execution
Ghostbusters’ filming was compressed into less than two months in New York before moving to Los Angeles, driving guerrilla-style shooting and logistical challenges (39:24).
Principal photography began on October 28, 1983, with a hard deadline before winter to avoid weather delays, necessitating quick, one-take shots and minimal retakes.
Many scenes were shot without permits, leading to incidents like cast members chased off by guards at Rockefeller Center and tensions with residents like Isaac Asimov.
The New York filming captured authentic locations but had to work around empty streets and crowds, resulting in some visible background disruptions that were left in the final cut.
The film’s special effects were groundbreaking but also extremely challenging, with a new studio created specifically for the project (46:54).
Effects pioneer Richard Edlund left Industrial Light & Magic to form his own studio, backed by a $5 million budget, which went over by $700,000 during production.
Stop-motion effects required up to three weeks to produce one second of footage, underscoring the painstaking work behind characters like Slimer and the Stay Puft Marshmallow Man.
The compressed schedule forced most special effects shots to be captured in a single take, relying on careful storyboarding and coordination to meet deadlines.
Financial Outcomes and Cultural Impact
Despite a massive box office haul of $295 million, the film reportedly did not turn a profit for the studio due to Hollywood accounting practices (54:32).
The name rights deal of $500,000 plus 1% gross profits was never fully paid out, reflecting the complex and often opaque nature of film financing.
The iconic theme song by Ray Parker Jr. was a major commercial success, spending three weeks at number one on the Billboard charts and is estimated to have added around $20 million to box office earnings.
Bill Murray’s performance was a key draw, though he stepped away from acting for four years after feeling he had peaked, showing the personal toll of the film’s success.
The film’s legacy remains strong despite some dated elements and criticism of certain character behaviors and subplots (58:24).
The EPA subplot and Venkman’s flirtation with a student have not aged well, but the film’s humor, characters, and effects still resonate with audiences.
The Stay Puft Marshmallow Man sequence remains a standout blend of comedy and spectacle, symbolizing the film’s charm and originality.
Ghostbusters became a cultural touchstone with enduring quotability and spawned multiple sequels and adaptations, none of which matched the original’s unique impact.
Network and Podcast Initiatives
The podcast team promoted other network shows, emphasizing community engagement and diverse content offerings (36:24, 01:08:23).
Gen Moonen highlighted Fun and Games, a video game podcast that explores history, culture, and trends, fostering an inclusive conversation about gaming.
The newly launched United States of Women podcast explores notable women from each state historically, with episodes releasing weekly through April and May.
The Certain POV network maintains active listener engagement via Discord, karaoke nights, and sneak peeks, strengthening the fanbase for all shows.
Hosts shared personal updates and encouraged listeners to connect on social media, reinforcing the community feel of the podcast (01:08:23).
Gen Moonen invited listeners to follow him on Twitter @GeoffMakesNoise and promoted relevant podcast episodes.
Sam Alicea and Case Aiken encouraged fans to subscribe and review the show and teased the next episode on Highlander 2: The Quickening.
The behind-the-scenes team credits were shared, highlighting the collaborative effort in producing the podcast content.
Outline
This section outlines the main topics discussed in the meeting, providing a structured view of the conversation around the film "Ghostbusters."
Character Development Insights (00:00)
Discussion about the strong New York energy of the actors, particularly mentioning Sigourney Weaver and her authoritative presence.
Acknowledgment of the balance between script adherence and improvisation during filming.
Reference to a metaphor about the film's energy being like "bouncing on the most solid trampoline."
Introduction of guests and their backgrounds, including Jeff Moonan and his connection to the Ghostbusters franchise.
Production Challenges (01:18)
Mention of the original intention for John Belushi to play a key role and how his passing affected the script.
Insights into the chaotic production process, emphasizing that the first film's success was almost miraculous given the numerous hurdles faced.
Reflections on how the sequel, Ghostbusters 2, didn't match the original's strength, indicating the unique conditions of the first film's creation.
Cultural Context and Impact (05:11)
Discussion of how Ghostbusters was a cultural phenomenon, especially in the 80s, and how it served as a second fandom for many.
Personal anecdotes about how the film influenced childhood experiences and the toy market.
Observations on the film's darker themes and how they were interpreted differently by children versus adults.
Script and Storyline Evolution (13:15)
Overview of the initial expansive script by Dan Aykroyd, which later had to be condensed due to production constraints.
Insights into the collaborative writing process with Harold Ramis and the balancing of comedy with a genuine belief in the supernatural.
Mention of key comedic influences like Abbott and Costello and how they shaped the film's tone.
Key Takeaways
This section summarizes the primary insights and conclusions drawn from the meeting discussion.
The unique collaborative spirit and improvisation during the making of Ghostbusters contributed significantly to its charm and success, showcasing the talent of the cast and crew.
The film's production faced significant challenges, including the loss of a key actor and a tight timeline, making its eventual success seem miraculous against the odds.
The cultural impact of Ghostbusters in the 80s was profound, linking nostalgia, childhood experiences, and the toy market, demonstrating the film's lasting legacy.
The evolution of the script from an ambitious concept to a more refined version illustrates the importance of adaptability in filmmaking, with significant contributions from various writers and performers shaping the final product.
Transcription
00:00
Yeah, it's funny. The people who are like real theater actors are the ones that have, like, the strong New York energy in this movie. Like, her and Sigourney Weaver are both, like, the ones of, like, not going to take any of this crap.
00:09
Yeah, it's. And from what I understand at the production, like, yes, of course there was improv and there was ad libbing and there was everything else, but they stuck to the script because I think they scrambled so hard to get that script together that they were going to hold on to it. And I think having those sorts of actors and that sort of energy to it as well helped. I think at some point one of them described it as like it was bouncing on the most solid trampoline. Welcome to Certain POVs, another past podcast with Case and Sam. This week is a fifth episode. So we're talking about a movie that overcame adversity. Let's celebrate the creativity of the filmmakers.
00:53
Hey, everyone. Welcome back to another past podcast. I'm Case Akin, and as always, I'm joined by my co host, Sam Alicea.
00:59
Hi.
01:00
And today, well, it's a fifth episode, guys. This is episode 130. We wanted to talk about a movie that had some trouble, and we wanted to bring a guest back on who hasn't been on since Sam joined the show. So we reached out to former partner in crime in all of this, Jeff Moon.
01:18
Hi, everybody. It's great to be back.
01:21
Jeff, you're starting to become a fifth movie guy, though, because last time you were on was the hundredth episode.
01:26
That's true.
01:27
About Dragon Ball Z abridged.
01:28
I believe in positivity, you know.
01:30
Yeah. But I mean, listeners of the show know that, like, one of the original points of generation of this concept for a show was Jeff and I would work together and we would just talk about, like, how cool a thing could have been. And that sort of turned into me being like, hey, what if I did a podcast like this? Yeah. Which just so happened to be about the same time you were like, hey, what if I did a podcast about video games? And we're like, what if we had a network?
01:51
Yeah, kind of. It was, you know, we have a lot of thoughts and opinions and thank you all for listening to them and continuing to do so.
01:59
But as I noted, this is episode 130 and the last time you were on was episode 100. So for people who don't know who you are, why don't you give a quick plug? Absolutely.
02:08
Yes. I am Jeff Moonan. I am a member of the Certain POV Network. I am one of the two hosts and producer for the Fun and Games podcast with Matt and Jeff, where Matt Storm and I talk about the history, future, and culture of video games. I've had a lot of great industry interviews interviews with folks in and out of video games and just about tropes and concepts of video games and what's coming out as well as outside of podcasts. I am an actor, a voice actor, a musician, and I just generally make a lot of noise in New York City. And pertinent to this episode, I was part of a Ghostbusters shadow cast for several years, a group called the Minions of Gozer.
02:49
That's awesome. And as you mentioned. That's right. We're talking about Ghostbusters, baby.
02:53
Damn right we are. Yeah.
02:54
So I. I had this on our list of movies that we wanted to talk about at some point because I knew that there was issues with, like, the name. I knew that Belushi was originally intended to be a big part of this movie, and then he died. And, you know, there's all these, like, casting rumors all about it. But as often happens with these fifth movies, when I actually stopped to, like, look into it a little bit, you're like, oh, this is a miracle that this movie was made.
03:20
Oh, yeah. The more you look. Yeah, the more you look into it, the more you're just like this. Not so much a miracle, but like, you didn't know how many needles were threaded in one go to make this happen. It's incredible.
03:34
Right? And it's evidenced by the fact that Ghostbusters 2 just isn't as strong.
03:38
Yeah. Given that due to the aforementioned Shadowcast experience, I've watched the first Ghostbusters a lot. And being part of that cast and talking to, like, huge Ghostbusters fans outside of it, folks in costume that would come to the shows. And I love Ghostbusters. I don't love the sequel, and I enjoyed the more modern films that have been made, but none of them are hit the same way. And I think part of that is due to the lightning in a bottle nature of what went into making the first Ghostbusters.
04:14
Damn it. I was about to say that this was protonic lightning in a bottle. I'm sorry.
04:20
You can have the protonic reversal here.
04:21
That's okay. You guys are just. You're just, you know, just kind of blending your streams.
04:29
Oh, man. All right, so we're all children of the 80s, so it's not surprising that we have a certain amount of fondness for it. Thinking about this property, I realized that this is kind of my second fandom. Like, you know how, like, you get into a thing, you get. You know, it's the kid scenario of getting. Get really into the toys, and the new thing comes and you get those toys. Like, Ghostbusters was kind of number two after he man before Ninja Turtles. So, like, I got really into it, and all the kids, like, got, like, the. Like the ghost trappers and like, all we all had, like, the proton packs with, like. Like the foam darts, you know, very hardcore into it all. Because the cartoon, the real Ghostbusters, was super popular at the time, and I just. I adored it.
05:11
But so my gateway into Ghostbusters was the cartoon. And then actually I saw Ghostbusters 2 first, and, like, I don't hate that movie. I want to be very clear. I don't hate that movie. I think it's not as good as the first one, but really, what is.
05:26
Yeah, that's kind of what it is. It's one of those where it's not a bad movie. It just committed the sin of unfortunately being the sequel to Ghostbusters.
05:33
Right. And from a standpoint of, like, coming from. From the cartoon, like, the. Like, Ghostbusters 2 has more elements that feel like the cartoon. So, like, it fit better. And then eventually I saw Ghostbusters 1 and I realized, like, oh, my parents didn't let me see it immediately because it is much raunchier and, like, not. Not really a kids movie. It just is a movie that's a little dark. Kind of like RoboCop launched a franchise that kids liked at the time.
05:57
Yeah.
05:57
But then you look back and you're like, why was this a thing?
06:00
It's like the opposite of, like, Transformers. He man she ra stuff where it's like they were selling toys and they made a cartoon around it. They made this thing, and then they sold it to children.
06:10
Yeah, Yeah. I think that there are a lot of properties in the 80s, though, that are like that where, like, I go back and watch it now as an adult, and, like, I watched it as a kid, and I'm like, oh, that was not appropriate.
06:24
Right.
06:25
So a funny thing that I've run into where that thing of, like, oh, my God, we showed this to kids, and what do kids think about this? Kids interpret it however they want to interpret it. This was a story that I remember discussing with somebody at one of the screenings of somebody who was a huge Ghostbusters fan who was opening the show, watching it with his, like, 4 year old with this. Just with his, like, small child, they're watching the movie. And as often happens when you show one of your favorite films to a child, you forget those parts that are like, oh, God, this is a sex scene. Oh, God, this is very violent, whatever it is. And it got to the part during the montage when Ray Stans gets sucked off by a ghost. Yeah, we all remember that part.
07:05
That classic part, the implied sex with a ghost bit. And he's watching it and like, oh, no. And his child just starts laughing their head off. And it's like, what do you think is happening right now? Why are you laughing? And the child said something to the effect of, ray got so scared by the ghost that he pooped his pants and the ghost had to change him. And I will always remember that in terms of like, what will children think? Whatever they want. And it's rarely what you expect.
07:38
I mean, honestly, that's. That's a great headcanon, kid. It's wonderful.
07:41
I love it. It's almost better. Almost.
07:45
In fact, that's what I'm going with from now on. That is what happened. That is exactly what happened, guys.
07:51
Yep.
07:52
So, Sam, how did you get into Ghostbusters?
07:54
Oh, I, I, you know, I don't know if I saw the movie before I saw the cartoon, but I was obsessed with the cartoon. I think. I think I did see the movie before I saw it because my parents took me everywhere with them. Like, I was that kid that was asleep in a stroller in a bowling alley. So, like, if my parents went to the movies, I was with them. I was actually very good in the movies. So.
08:19
Nice.
08:20
Thank God for the people who were there. But, but yeah, so I think I may have seen it in the. You know, I may have seen the movie before, but. But I will say that the cartoon is definitely my first impression. And I remember, like, years later rewatching the movie and being, like, kind of confused why Slimer wasn't their friend. Because that's such a, like a cartoon thing. Like, Slimer was like, oh, Slimer. No, he's good. You know, I still love him because Slimer and I have similar interests, which is eat everything. And so I harass Bill Murray. Yeah, I really connect with that, especially during a time where Bill Murray should have been harassed over and over again. He was a very bitter human being. You know, it was kind of. It was.
09:13
It's nice to watch it, but it's always a fun movie. And of course, it was one of those movies that was Always. Anyone on east coast know? It was always on channel 11. It was always, like, a weekend movie. It was. You could catch bits and pieces there. I remember thinking Sigourney Weaver was, like, the prettiest woman on the face of the planet and thinking that she was totally cool and wishing that I could turn into a demon dog so, you know all the things that little girls want. Yeah, yeah. Become a demon dog. Open a portal of dimension. Walk around with a stay puff marshmallow man. You know, conquer New York City.
09:47
Blow out the walls to your apartment without having to, like, get approval from the. Built from the co op. It's great.
09:55
I did, like. I think as an adult, I have so much more appreciation for Rick Moranis's character.
10:01
Yes.
10:02
And him just being like, oh, man, the superintendent's not gonna be happy about this as he comes out of it. Because I was just like, wow, they just ruined everybody's investments in those apartments. I actually said that aloud when I rewatched it this time, and I was like, that is terrible, Sam. Yeah.
10:21
Rewatching this movie this time, I was, like, way more keenly aware of property damage. And, like, that's just me getting old at this point where, like, they're shooting off, like, protonic beams and, like, destroying chandeliers and everything, and I'm like, oh, that's so expensive. That's so terrible. And then realizing, like, why have I never thought about these things? Also, Has. Has all the joy left my life?
10:42
Yeah. Well, when the explosion goes off in the end, right. They. They cross dreams. Everything explodes. And you see that from, like, the distance. I'm like, that explosion is way too big for anyone to have survived it. Like, there's no way any of them are getting up. They're just human. The Ghostbusters aren't superheroes. And then they're all just covered in foam and getting up, I was like. But there was fire. There was fire in the explosion, guys.
11:10
I think it was the. The ectoplasmic marshmallow that saved them. It took the brunt of it, you.
11:16
Know, that makes sense.
11:17
Good head cannon going with it.
11:19
Saved by s'. Mores.
11:20
Saved by s'. Mores. And, yeah, no, I. I worked for many years as a children's musician, and I definitely would play, like, birthday parties in the sorts of apartments that were, like, on Central park west on the Upper west side. And, yeah, I'd be a liar if I said I wasn't thinking about Ghostbusters. Just about every time I'd walk through those hallways, it was never that building. But I would be very keenly aware of the fact that I was in that part of town and like, watching Ghostbusters as a kid. I grew up in North Jersey. I was never far from New York City. My dad worked in New York City. I was in there a bunch. But I only have the vaguest memories of how New York was.
11:57
And 1984, when the film came out, like New York City was, let's be real, it was a shithole.
12:03
Yeah. Very much an economic recovery after. It's like the bankruptcy was. It was Ford's administration. So that was what, like 78?
12:10
Yeah, it was the late 70s. Like, yeah, the. The mid-80s was really when it was like, kind of on an upswing. And the choice to make New York City deeply part of the character of the film to the point where the final line is, I love this town. About New York City. It was bold.
12:27
Sorry, I just. I just did the math. Like, wait. I was like, wait, no, Carter was elected in 76, so it was like 75.
12:31
70. Oh, yeah, that's right. Because Nixon resigned in 72, I want to say. So that was probably. It was one of those. But still, like, you look at films that depict New York city in the 70s, and then you see the subway and you just go, oh, my God. And you remember, even if you weren't there, none of us were. And so it's still very funny to see what parts of New York City are still standing and are still there and are still part of the fabric and feeling. Even if the general mood of the town has shifted over the past few decades, as well it should. You know, some things are perennial. The superintendent is going to be pissed.
13:08
Yeah.
13:09
So why don't we talk about this movie? Like, again, this movie has some weird stuff going on for it just from start to finish. Why don't we start with the conception? Because. So this is Dan Aykroyd's baby. And that is because if Dan Aykroyd had not gone on to be a successful Hollywood writer and comedian, he would have been a ghostbuster.
13:27
Yep. His family for several generations had run seances and dealt with the occult. As I. I think in several interviews, Dan Aykroyd has said, like, the occult is the family business for him.
13:40
His. His great grandfather was like, a renowned spiritualist. And. Yeah, this is like, very much a. A family business for him. And belief.
13:50
Yeah. And it wasn't written with a tongue in cheek or being like, can you believe people believe in this? My family believed in this. He believes in ghosts. This is from a truth for him. And I think that is something that serves the film very well. He clearly has a sense of humor, very clearly about himself and about a lot of things and. Which allows for flexibility. But so much of this comes from truth. And he was the consultant about the occults the whole way through. So things referenced and things spoken of were true. And he created whatever the technobabble equivalent was for talking about spiritualism and the other side. And yeah, it all starts with him.
14:28
Yeah. And I just want to highlight that part because it's so weird to think about, like, it's a Dan Aykroyd. Like, again, it's his baby, it's his idea. He wrote it along with Harold Ramis and Ivan Reitman contributed a lot because. Which we'll talk about in a second. Like, the production was rushed, but you can only imagine the actual moments of them, like working together. And like, they'd be like, all right, so what are we going to call this? Well, obviously it's this thing. And yeah, like Akroyd just like rattling off like all the. All this jargo that no sane person would know off the top of their head.
15:00
And. Well, the. And the original concepts. The original script was something massive. I can never remember what the number of pages of the script was, but it was in the hundreds. And it involved being in the future and traveling to several different dimensions and all of these crazy effect ideas written in the early 80s for a comedy. And yeah, we can have Guardians of the Galaxy now, but back then the idea of comedy and comedy done by television actors. Dan Aykroyd's a television guy as far as studios were concerned. So hugely ambitious. And I'm real happy they scaled it back.
15:39
Yeah, definitely one where the. The idea like this isn't the budget per se, because they didn't even know what the budget was going to be.
15:46
Oh yeah, this is way before budget,
15:48
Way before we get there. But just the realization of, like, no, this is all impossible. Let's focus on the thing we want to talk about, which is the ghost shit. And like said it in modern day.
15:58
Yeah, I mean, I think it's very interesting that he. He read a paper that was on quantum physics and it gave him an idea about trapping ghosts. And he was like, I'm gonna put this in my movie.
16:11
It's incredible.
16:12
This sounds like it could work. Like it was in the Journal of American Society for Psychological Research. And he read this paper and he was like, yeah, I think. I think this is the science for Catching ghosts. And I was like, wow. And then they make references a lot because I watched a. Like a YouTube video about, like, the. The practical effects and stuff like that. But they. They talked a lot about how he was also inspired by the comedy and Abbott and Costello movies. Like, and he wanted to incorporate that as well in like, the way that it was written and kind of, you know, because they had a ghost story too. I thought it was just so interesting. Like, yeah, we wanna do slapstick, but also quantum physics.
16:57
Yeah. I mean, yeah, the old studio films of the 30s and around that, you know, Abbott and Costello met how many Universal movie monsters and so many other. Though this idea, this marriage of things had a pedigree. It had just been a very long time since and. And then. Yeah, you know, Dan Aykroyd wasn't reading that for research for the movie. He was just reading that.
17:21
And it's the family business.
17:23
Family business. Just. Just some light reading, you know, Quantum physics.
17:28
You can take the boy out of the seance, but you can take the seance out of the boy.
17:33
That boy's got spirit.
17:34
Yeah.
17:35
But what we should note is that the world was. Was right at this. Like, there was the oppression, appropriate quantum resonance across the zeitgeist to take on a ghost movie like this. Yeah. You know, as we noted, there's all these old comedies. Like, I saw one comparing like, how shot for shot the hotel scene is to a Disney cartoon where. Where Mickey, Goofy and Donald become ghost hunters and like, end up in the same situation where they're all like, covered in ectoplasmic slime after, like, having a failed or not a failed, but like an encounter with a ghost in a hotel. You know, those all existed. And then you get like the 60s and 70s having things like the Exorcist, like Rosemary's Baby, like, people were like, discussing the supernatural in regular conversation and like, actually thinking about it.
18:24
You know, we're right around the same time as the Satanic Panic. It. It was a. It was a pump that was primed to, like, inject some levity into.
18:32
Yeah. And the idea of. Yeah, the 60s and 70s and the cult ideas and other spiritualism that didn't quite pan out. And the 80s was a decade, broadly speaking, and certainly in film and media about commercialization and commodification and so taking that and making a movie about commodifying the supernatural. It was kind of perfect.
18:55
Yeah. So why don't we move on to the thing that a lot of people know about as just kind of a trivia point about this all, which is the fact that we call it the Ghostbusters, or rather it's called Ghostbusters. And, and how like when they did a cartoon, they had to call it the real Ghostbusters. And that's because they didn't have the rights initially.
19:13
Yep.
19:13
For Ghostbusters.
19:15
The original Ghostbusters was a cartoon as well. So they probably had to extra do it for the cartoon.
19:19
Yeah, well, actually, so the original was actually a live action show in the 70s. And then when Ghostbusters the movie came out, so Universal had this TV show. This is the one with the gorilla. Like the, like. If you're culturally aware of Ghostbusters, you're generally fairly aware that there's that other series that is called the Ghostbusters. It's the one with the gorilla. It was like a live action kind of like goofy comedy show in the 70s. And then when Ghostbusters the movie came out, once all the legal hassles to get this, to get the title over for this production, Universal then greenlit a cartoon to cash in on the popularity.
19:57
And that's why when Ghostbusters, the franchise we all know and love, was ready to do a cartoon, they couldn't just call it Ghostbusters or the Ghostbusters, they had to call it the real Ghostbusters. And that created this like, other element which they actually worked into the story. Because in it the Ghostbusters go to see, like in the pilot they go to actually see the movie Ghostbusters as if it's being presented as like the Ghostbusters movie is based on their own experiences as Ghostbusters.
20:22
Yeah, yeah.
20:23
Which suits the vibe.
20:25
Gotta say, that explains why Egon is a blonde in that. Because Harold Ravis is just playing Egon, but Egon's a real person.
20:32
God, I love that.
20:33
Yeah, so there was like some funniness in terms of this also, they didn't have the rights until they were already well into production of the movie. So much so that there were scenes where they were chanting like Ghostbusters. Ghostbusters.
20:45
Yeah, the crowd scenes towards the end.
20:47
Right. And they apparently did a couple takes with different slogans for it, Ghost Blasters and.
20:52
And they were trying to like change, have potentially different signage as well. Like some real Phantom of the paradise shit. That's a deep. But.
21:01
But ultimately this because of the rush production schedule, which again, we'll talk about in a second. I don't know how many takes that they had that were actually good takes that were with these Other names. And so it was, like, getting really urgent that it's like, no, we need to get the rights to this. And apparently. So the executive who they initially pitched to Frank Price at Columbia Pictures was attached to this movie while the movie was being made. He left Columbia and actually went over to Universal. And it's only because he did that job switch that he. He then was like, no, no, we're making this thing happen, because that's still a movie I'm attached to, even though I'm no longer at that studio. And so he sold it at. He sold it for $500,000.
21:39
The rights to the name plus 1% on the gross profits. Now the movie is super profitable, but Hollywood is infamous for bookkeeping, for cooking their books and messing with it all. And so they never actually paid it out because they claimed that it was too expensive in the background. The whole net versus gross.
21:59
Wow. Good times.
22:01
Yep.
22:02
After Frank Price so went to bat.
22:04
For this movie, I mean, I think that he didn't really care so much. He just wanted the $500,000. But it is just, like, funny to see, like, again, this is an 80s Hollywood movie. I mean, it's a Hollywood movie in general, but, like, it's the 80s in particular. A lot of shiesty people were involved.
22:18
Very shocked.
22:18
Yeah. So then the next thing that people often know about Ghostbusters is that it was intended originally to be an Ackroyd Belushi pair comedy within, like, everyone else, kind of like their supporting cast. But it was. It was kind of. Kind of like a, you know, a continuation of like, the Blues Brothers type thing. But apparently Aykroyd was in the process of writing a line for Belushi when he got a call from his agent to tell him that John Belushi had died.
22:44
I mean, even if that's like a bit of a dramatization, like, it was part of the process. And it was. And I'm sure that was. I mean, of course it was a blow.
22:53
Yeah. And definitely this movie is different for not having a Belushi Ackroyd kind of dynamic in it, because their dynamic was very singular. So that did change everything. I think, like, Eddie Murphy was also someone that he had an idea to, like, kind of put in here somewhere. And that never kind of panned out either. It would have been a very different movie.
23:19
Yeah.
23:19
Yeah. There's talk that Murphy was supposed to be Winston and that Winston would have come in earlier. It's hard to say if he was ever committed to it, but they do Claim that Winston's role was reduced in part because it wasn't as much of a name actor in the spot.
23:33
Yeah, There's a lot of extra background about Winston Zeddemore that would have shown up if he was earlier on in the script and things like that. Like, yes, he was an audience viewpoint character to have certain things about the supernatural explained to him because he was a technical expert and he brought that rather than, like, understanding all the ghost stuff.
23:52
Yeah. Wasn't he supposed to be like a military character with, like, multiple PhDs?
23:55
Yep, that's exactly what it's supposed to be. And I have often thought about the line, this job definitely ain't worth 11, 5 a year. And have tried to work with the inflation on that. And the math has never added up for me. Poor Winston.
24:07
Yeah.
24:08
So they're working on this movie. It's not finalized. They bring in Harold Ramis to continue working on the script. Ramis is integral in getting Bill Murray attached to it all. Now, apparently Ramis was just going to write and they wanted Bill Murray because Bill Murray, they thought would be a good star for it. But anyone who knows any stories about Bill Murray, such as when we talked about Bill Murray, Harold Ramis collaboration for a previous fifth episode, which was Groundhog Day. Bill Murray is not easy to work with, but he's also not easy to plan to work with.
24:41
Yes.
24:41
He has a habit of being like. And then, like, just shows up on set and that's about all you can really kind of get out of him. And that's on a good day. Like on a good case.
24:50
Yeah. There have been descriptions where it's almost like you have to do legal procedure. It's like, hand him the script and look him in the eye. And, like, I have given you the script, Bill, kind of levels and very 11th hour kind of thing. So what? However you needed to stack it, I guess.
25:07
Yeah. Apparently when he showed up on set, Reitman was not convinced he had read the script.
25:11
Yeah. Basically.
25:12
That sounds right. That tracks.
25:14
There was a writer's meeting where Murray showed up just to, like, look it over and see if he had any notes. And he didn't. And it's like. Like Ramis was like, oh, it's because, like, we've worked together. I know how to write for Bill Murray's voice. And it could also just be that Bill Murray just didn't read it and was like, no, I got notes. It's fine.
25:30
Yeah. Which could also charitably be called trust, but I don't know.
25:34
I Have notes. I'll be making up my lines as we go along.
25:38
Meanwhile, Harold Ramis did end up becoming Egon in the final script. And that was not the original plan. He just didn't really like any of the people who had been reading for it. And there's an interesting list of names here. So we've got John Lithgow, Christopher Lloyd, and Jeff Goldblum, who, when this is. Before Sam came on, we did an episode on Buckaroo Banzai. Where there was this weird period of time where those three actors were. We're all reading for the same parts and just being cast, like, interchangeably with each other. And it's just so funny to think that this could have been another one of those projects.
26:14
It definitely shows you what they were thinking with Egon as a character. And it makes sense. But also, the movie has become so cemented and iconic that I. Maybe Jeff Goldblum.
26:25
I mean, I think all three of them. And also Christopher Walken had read for it. Michael Keaton also read for it. So, you know, like, you can see the type that they're working with. Keaton, I don't think would have worked as well for it. But, I mean, Christopher Lloyd I could see. Cause it's just. He'd have to play it straighter than the doc. But they're all right on the cusp of being that crazy mad scientist character.
26:49
Because there's a certain deadpan energy.
26:51
Agreed. Yeah.
26:52
Which is why, I guess Goldblum, in my head is the one where it's like, yeah, maybe him.
26:56
Yeah. Might be a little too sexy. Yeah.
26:58
I was about to say, like, that was more heartthrob y kind of thing. But that would also just be hilarious. Like, he's gorgeous and sexy and collects spores. Molten fungus. Doesn't matter.
27:10
I feel like Goldblum would sound like he's, like, flirting with the fungus, though. I don't know. I think Case is right. Might be too sexy. Be like, that doctor's not safe in a lab. Don't. Don't let him in a lab.
27:22
But that takes away from all of the feelings of Venkman being the unsafe one. No wonder they all got thrown out.
27:30
Exactly.
27:31
Oh, God, I love this movie. But looking back on it is very much a film of its time. And there's quite a bit of weirdness going on with some of that. I mean, especially, like.
27:44
Yeah. You watch it enough times, you just start, like, not just the property damage, not just whatever else. And there's only so many things you can just go I don't know. It was the 80s, man. Thorazine, dude.
27:58
Yeah, but Venkman, before they get kicked out of their university gig, comes off as a skeezy professor. And I, man, it was way more uncomfortable watching that now. I was like, oh, no.
28:10
Again, children will see it how they will see it. And we watched this mostly as children. So a lot of our memories and feelings toward this movie is based on how were when were younger and first received it. And more likely to be like, eh, we. We're noticing that he's totally hitting on a student and totally screwing with the other student and that he's doing it to make her think she's special so he can get a date with her. And he's much older. That's so uncomfortable. But now we see that. But we didn't see that as a kid. We just thought it was really funny because he was tricking the other guy and making her feel really smart. Oh, wow, Bill Murray. So funny.
28:50
And he was. And you know what? Venkman was just starting to get some. Some evidence for his theory. Like, the guy was starting to get the things from the deck. They only had 75 more to go.
28:59
I mean, the problem is, it is still a really funny scene where, like, the guy who's getting it right every single time, he keeps on being tortured.
29:05
But yeah, I think the flirting with the girl was the, like, unequivocal line cross. Before that, it just. Like, this is. And you know what? I love that they put in the dean being like, you are a poor scientist. Like, yeah, that's the scathing insult there. Everything else.
29:24
Yeah. On that note, talking about Sigourney Weaver in this part, that one. The people I'm looking at, who they were looking at for the part don't really surprise me. The only one that, like, stood out as being like, oh, that would have been weird, was Denise Crosby, who would be Tasha Yar on Star Trek the Next Generation. Yeah, mostly because I'm just like, oh, it would have been nice if she had, like, a career bump in there. And also interesting. So Tasha Yar's character in Star Trek the Next Generation was inspired by. I'm blanking on the name of the female Marine in Aliens. So, like, again, all these, like. All these things kind of like, are leading into each other and whatnot. But this is before Aliens. This is right off of Alien. Not right off of.
30:06
But a couple of years later, but still like two years before Aliens, which is the big tentpole of that franchise.
30:12
Yeah, this was Still a point where Sigourney Weaver was like, I've done comedy. Let me do comedy. Come on.
30:17
Yeah, Julia Roberts was mentioned, which is like, okay, yeah, I can see that. That would have been fine. But I think Sigourney Weaver just does such a good job of playing a character who would not put up with Venkman's bullshit. Yeah, that was great. And apparently it was her idea to make the. To make the character a cellist instead of a model, which I do think adds a lot to the sort of, like, the competency you feel innately with this character. And also, it gives a great opportunity to shoot shots at Lincoln center, which I was a huge fan of, just because I used to live right by there. And, like, you had to walk through it just to get to the subway. So it was, like, great to be like, yeah, that used to be my home.
30:54
One of my spouse's first jobs in the city was a stage management intern at Juilliard. So I definitely spent a lot of time in that area watching it. After watching Anytime I've watched Ghostbusters since has just been. Yeah, those always get me right in the feels.
31:08
So John Candy almost had the part of Louis Tully.
31:11
Yeah. It was very much written with him in mind, but he had all kinds of wild ideas. Like, he wanted to do a German accent or he really wanted to do all these notes and things on it. Yeah.
31:21
Very different part in that scenario.
31:23
Extremely.
31:24
Yeah. I don't know. Every time I watch it, I'm like, oh, right. I love Rick Moranis.
31:29
And it's one thing to, like, okay, you think about Egon and you consider all of the people in the room and what Harold Ramis did. It's like, okay. No, they were going for a vibe. I don't know what role John Candy and Rick Moranis would go for at the same time. Like, that's a very interesting pivot.
31:46
Yeah.
31:47
But it worked.
31:49
So Ernie Hudson is an actor that we have talked about a bit on this show before, specifically when we did Congo.
31:56
He was brilliant in that. Honestly. Honestly, in my rewatch, he was one of my favorite parts of that.
32:04
Like, Ernie Hudson and Tim Curry just having the best time.
32:07
Oh, it's great. And he's so smooth. And he could have been that in this movie, but the part is just so much smaller. It is like he comes in so late, and that's a bummer.
32:16
I used to know the exact timing of it because I would shout it every time we did this, because, yeah, it is a bit of a disservice to both Ernie Hudson and to the character of Winston Settimore.
32:26
Yeah. And it is funny. Like, looking back on it again, coming from the cartoon where he's a major character and like, Also in Ghostbusters 2, he's a major character. And, like, he's like, not a big part in this movie.
32:37
No, they don't let him be that viewpoint character. Yeah.
32:40
It's almost weird that they only have one character like that. I mean, I guess you could argue Janine's also kind of in the same ballpark. But you think they would hire a team or like a few people, like maybe like an assistant for each of them or something like that.
32:51
I mean, I appreciate that they have next to no explanation about Janine. She's just there.
32:56
Yeah.
32:57
I kind of love it. You don't have to explain everything. Yeah.
33:00
Annie Paz, she's great. I love the part.
33:02
Yeah, she's wonderful.
33:04
Yeah.
33:04
The we got one is such an iconic line.
33:07
She also doesn't take crap from Veikman.
33:10
Right.
33:10
Exactly. Well. And it's also very interesting to look at the dynamics of the cast when you consider how many members of the cast are like Second City, Saturday Night Live, improv, and that specific school of comedy type. And Annie Potts is more of a theater actor and bringing that same level of just, I am fearless just from a different angle. And it shows and it holds and it's great. I love it.
33:34
Yeah, it's funny. The people who are like real theater actors are the ones that have, like, the strong New York energy in this movie. Like, her and Sigourney Weaver are both like, the ones of, like, not going to take any of this crap.
33:44
Yeah, it's. Well, and from what I understand at the production, like, yes, of course there was improv and there was ad libbing and there was everything else, but they stuck to the script because I think they scrambled so hard to get that script together that they were going to hold onto it. And I think having those sorts of actors and that sort of energy to it as well helped. I think at some point, one of them described it as like, it was bouncing on the most solid trampoline.
34:11
I mean, and that makes sense because it was such a short production schedule. So let's move on to talking about the movie getting funded and then, like, what they were afforded in terms of time.
34:23
Yeah.
34:23
So we mentioned that. That it was Price who, like, greenlit the movie. Apparently, they were given. They were. They went in not with a finished version of the. Of the modern script, like, of Course they had those old versions that were like way out there. But they had started working on it. They did not have a finished like script of any sort. And none of them were really sci fi people and went in for this meeting asking like for 25 to 30 million, which was apparently according to Reitman. He, he had no idea what the budget needed to be like. They had like, again, hadn't finished writing the script, had never worked with special effects, had no basic idea of any of that stuff. He just took the budget for Stripes and tripled it and was like, that'll be, that'll do.
35:04
And now like $30 million is like the. Nowadays is the level of just like, oh, well, you needed one celebrity in your mumble core movie.
35:12
It's one creature feature, Michael. What could it cost? Eight, nine dollars?
35:18
So they, so they get into the scenario where this was July of 1983 and they were given a Jew. Pardon me, reverse that. This was May of 1983 and they were given a June of 1984 deadline. They were like, all right, yeah, here's the money you need to be ready for June of next year. And they had to go into it 13 months out, no finished script. They hadn't reached out to any special effects studios. They had no idea what they were doing in terms of all that. They had to get the script done. It took them two months to hammer it out into a position where they could actually start pre production on this.
35:54
Movie and it still wasn't done.
35:56
A miracle, I tell you, a miracle. This got made. Go on.
35:59
Yeah. So this is where you get into all the crazy stuff because they had such little time to actually work on this movie, they. Once they actually started filming, they had to start editing while they were filming it because otherwise they weren't going to have a finished cut in time for that release date. Yeah, so, yeah, there wasn't a lot of ad libbing because they didn't have time. Most of these shots were one takes.
36:21
Yeah, it's really the effect shots. Like, it's like, here's what we've got.
36:24
Go.
36:25
Yeah.
36:26
Apparently almost exclusively. So we're going to shift into talking about the actual production of this movie. But before we do that, we should probably take a break to shout out some of the great shows on our network, such as Possibly Fun and Games with Matt and Jeff.
36:41
Yay.
36:42
I think it's a pretty great show. Why not Check it out.
36:45
Video games are a unique medium.
36:47
They can tell stories, immerse us in strange, fantastic worlds, blur the very boundaries of our reality.
36:55
But at the end of the day, video games are fun. Whatever fun is to you.
36:59
I'm Jeff Moonan.
37:00
And I am Matt, AKA Stormageddon.
37:02
And on Fun and Games we talk about the history, trends and community of video games. It's a celebration of all the games.
37:09
We play and all the fun we find within them.
37:12
And there's so many more games out there, so we hope you'll share in that conversation with us.
37:17
Fun and Games Podcast with Matt and Jeff.
37:19
Find us on certainpov.com or wherever you get your podcasts and happy gaming.
37:25
Hello there, my name is Leo and I'm here to tell you all about my Dune podcast, GOM Jabbar. The perfect podcast for new fans of Dune and longtime fans of Dune alike. My co host, Abu and I dive deep in both spoiler free and spoiler heavy episodes covering, gosh, Frank Herbert's original novels, the film adaptations, the board games, the comics, the upcoming video games, the HBO TV series, anything we can get our hands on. We even have a companion book club series to make your first or your 15th read through even better. So if you recently saw Denis Villeneuve's adaptation of Dune or if you read Dune back when it came out in 19, this is the podcast for you. You can find Gom Jabbar on Apple, podcasts, on Spotify, pretty much anywhere you find your podcasts.
38:18
And we hope you join us on the golden path.
38:24
And we're back. So you got a budget about of quote 25 to 30 million. You have no plan. You might have Bill Murray in your movie. Maybe you have a script that you're kind of still working on and you have to do this movie now. This resulted in a rushed production schedule with lots of guerrilla filmmaking and lots of craziness.
38:46
Yeah, I mean the writing process or the post approval writing process, there was definitely like a period of time where it was Ramis, Aykroyd and Reitman just kind of like taking two weeks and just going for it. And by all accounts, Ramis and Aykroyd write very well together because of the concept of. Aykroyd's very much a concept guy. Like, just consider how large and big the original script was. And Ramis has much more of a production standpoint, I would imagine. And so there was tightening going on there. But still and all.
39:20
Yeah, I mean, they were able to actually start at the end of October. It was October 28th when they were able to begin principal photography. And so we should note here that while this is very Much A New York movie. They only had about two months to film in New York because they needed to get finished before winter weather came in. Now, winter weather in New York might be a thing of the past to a certain degree nowadays, but back in the 80s, it hadn't really gotten that bad yet. Global warming, guys.
39:49
Yeah.
39:50
Now we have just small speckles of winter warming. So. So like winter weather and then warm weather, same day.
39:57
Yeah.
39:58
Basically they had to finish before early December. So, I mean, two months is even kind of generous because it was the very end of October when they got started and they really couldn't afford. And part of this is not just like that automatically there was going to be the issue. It's that you, when you're planning a schedule, you have to, you can't allow for the like, oh, well, there's a 50% chance it might be snowing by this point.
40:19
Like you can, yeah, you can't gamble with movie money on that.
40:23
Exactly. So they needed to get all of their New York stuff done and then they needed to move over to LA where they finished the rest of the movie because again, they only had 13 months total. And by the time we're getting to October, that's what, like six?
40:36
Something like that. And you've still got to do all of the post production.
40:40
I am being terrible at math. I'm saying numbers and then immediately being like, nope, that's not right. Nine.
40:45
Yeah, makes sense.
40:47
Yeah.
40:47
I was trusting you on this one case.
40:49
I'm sorry, guys. I don't know why I'm so bad at math tonight anyway. Yeah, yeah, it feels so good. Feels so good.
41:00
Yeah.
41:00
Also just makes it not able to count. Anyway, so they had about two months to work on in New York, which resulted in lots of guerrilla filmmaking. Which means that shots where I'd watch it and be like, was that intentional? Like, where like there's a news person and there's very clearly a dude trying to like get in the frame. Who, like, big weird looking dude with a beard. I was like, I think that's just a guy. I don't think that was an extra. I think that was just a guy.
41:24
Probably just a guy. They definitely had points where. I think it was actually Lincoln center, where since it's apparently private property, they didn't have permission to shoot that scene there. And they did. There's some footage of them getting chased by a guard.
41:38
It was Rockefeller Center.
41:39
Rockefeller center, that's what it was, Midtown.
41:44
But yeah, but yeah, lots of stuff around Lincoln center, which that one probably they.
41:49
That one, they probably.
41:50
There's so much footage there. There's no way they could.
41:52
Yeah, it was. And it. And it's definitely a. Even. Even though it's definitely clearly cold out, it's. There's less people there than usually are. So I think there was definitely a more controlled setting because I remember turning to my boyfriend and being like, yeah, it's actually kind of empty for Lincoln center.
42:10
Right?
42:12
Yeah. I. I also don't know what the vibe of Lincoln center was back in the early 80s, but I don't know.
42:17
Yeah, it was still pretty. It was still pretty packed because my. My godmother used to take me there to see the Nutcracker every year. So even in the winter, it was pretty nice. People were always around the. The fountain.
42:29
Yeah, the fountain's iconic.
42:31
Well, and like, the Fordham campus is right there and Juilliard's right there. So. Yeah, you always have, like, students, like any time of the week because you could be like, oh, well, what about, like, during business hours or whatnot?
42:40
Students lay about.
42:41
College students are going to be around.
42:43
Yeah.
42:44
Apparently when they were filming the finale stuff, there was some issues with the building that they were filming at and Isaac Asimov was a resident and bitched out Ackroyd about it.
42:56
Oh, wow.
42:58
The quote is, you guys are inconveniencing this building. It's just awful. I don't know how they got away with this.
43:04
You know what? I feel like Akroyd should put that on more Thi. Like, that goes with laurels, man. Like, that's great.
43:12
I imagine. So it's saying he. That Akroyd was a big fan of Asimov. So I don't. If getting bitched out by like, one of your icons,
43:24
You know, I don't. I wouldn't feel small emotions about that. I would either love that or hate it. So. Yeah, you're right. Yeah.
43:34
But I mean, this is. This is what happens if you try to close adjacent streets on Central Park West. People are going to get mad.
43:40
Yes. Apparently. Because this was also the same year that Gremlins came out. Ghostbusters beat Gremlins in box office sales and ticket sales everywhere except New York City because New York was mad at Ghostbusters.
43:57
I mean, we really don't like when people get in our way, so. I get it.
44:02
I do.
44:03
People get mad when the president comes into town and all the presidents. It's not just the ones we don't like in the city. All of them. Because if you're going to the un that means that everything on the east side is going to be messed up. The fdr. Like, we're like, why do you have to come here? I mean, do you know how hard.
44:20
It is to go across. To go across Fifth Avenue, to go crosstown when you are going, when you have barricaded every block, it is terrible.
44:28
And honestly, like, any time, anytime, anyone from the city, like, I remember Bloomberg was like, oh, we should hold the Olympics. I was like, we should not ever hold the Olympics. No. Like, I love watching the Olympics. I never want them in New York. There's already too many people here. Thank you so much.
44:46
I mean, let's be honest, no place should host the Olympics. Agreement. The Olympics. Going any place is bad for that place, except for people who have money invested in that place. And I don't mean like, oh, it's good for business. I mean, like, it's good for, like, robber barons.
44:58
It's good for Bloomberg.
45:00
Right.
45:01
Anyway.
45:01
But traffic wise, it's even worse. That's all I'm talking about.
45:05
Well, and certainly if you're going to be closing down Midtown stuff. Look, I live in Washington Heights and in the Heights and West side Story were being filmed at the same time. And because I didn't have. It didn't inconvenience me personally in terms of, like, traveling around Midtown. Not many tourists. Whatever else, I had a lot of fun that they'd close off the street and it's like, oh, there's a dance number going on. Which musical is it? That's fun. I imagine closing down the spots they did in Ghostbusters is a little more debilitating to the general New York experience.
45:40
Yeah. Because there's so many people just, like, in the way.
45:42
Yep. Yeah.
45:43
And it's like almost exclusively Midtown stuff.
45:46
Exactly.
45:47
Yeah. And Central park west, which is, you know, they tend to complain a lot more.
45:52
Yep.
45:52
Right.
45:53
They got that money to complain. Yeah.
45:55
But so they ended up moving filming that ended up like. It's not like when they.
46:00
When they wrapped the exteriors.
46:02
Yeah, yeah. Once they were done with the exteriors, they moved to LA and shot there. One of the interesting things when you get to California is that those kind of hook and ladder stations that they use as their headquarters just aren't very common. So they found a decommissioned one. And I wonder if, because it was a decommissioned fire station that was probably not in great shape, if that influenced them. Like, the lines about how it's like, it should be. It should be torn down and that it's like a terrible, like, Wreck of a building. I don't know. No confirmation on that one. But it like, I feel like that's the kind of thing that it would.
46:35
Be very funny if. Yeah. What Egon says was pulled directly from like a set scout. Like what do you think about this? I think this place should be condemned and just.
46:45
Yeah, yeah.
46:46
And but there's this poll.
46:48
So while they were filming, as we mentioned, a lot of these are like oners. So the takes for all these special effects were often one shots. Now what we haven't talked about yet was that when they were going into production again, super rushed, hadn't really like done a lot of planning before they like got greenlit. Apparently every major Hollywood special effects studio was booked up on other projects at the time.
47:09
Yeah.
47:10
So there weren't many. Richard Edlund left ILM to start his own studio as part of this whole production. He got $5 million. He went over by 700,000, but started a new studio which included like building a physical studio for it. And it was just like this huge time consuming project.
47:27
I think they also pretty immediately booked additional film work on top of it. And that might have just been to depressurize like other films needing this as well as. Yeah. Making that money back as quick as possible. Because Ghostbusters profitability was up in the air.
47:45
Yeah. And according to Columbia, they didn't make any money on it.
47:50
How about that?
47:51
Yeah.
47:52
$0.
47:54
Oh no.
47:55
But it's just insane to think like how many shots were just done in one take. Which I guess is why so many of the. There are so many shots where it's like pov like when they're like chasing down slimer and so forth where it's like, okay. That like you can kind of see how they're like trying to take as many steps as they can to limit the areas where mankind might get in the way. Like a lot of the shots don't have like lines attached to it and the ones that do are like the easier ones like the lightning shots.
48:21
Yes. Second unit special effects.
48:22
Almost exactly.
48:25
Yeah. Makes sense.
48:27
So now this is fairly widely known. So Slimer is supposed to be the ghost of John Belushi in his way.
48:34
Yeah. However much he is, he definitely is.
48:38
Yeah. It was a loving tribute. And apparently like apparently Aykroyd was like very insistent that the character that the slimer ghost. And I say Slimer because we all know it's slimer. It's not named slimer in this movie.
48:48
Nope.
48:49
Yeah, but it'll always be Slimer. But thanks to the cartoon.
48:56
Yep.
48:57
The artist apparently, while working on it, had months and months of difficulty, like, getting the design right for the character, and then apparently took, quote, unquote, at least three grams of cocaine and completed the final design in one night when they were at their deadline.
49:12
I mean, you know what? I can't say I condone his actions, but it's channeling Belushi.
49:20
Yeah. Seriously. I mean, that. That is the way to channel Balushi.
49:25
The demon dogs. Because this is all pre cgi, were. Were stop motion. And apparently it was three. Three weeks of production to create one second of footage with each of them.
49:35
Seems about right.
49:37
Yeah.
49:38
That is insane.
49:40
For real. Oh, my God.
49:42
Yeah.
49:43
I don't know.
49:43
Again, this is a movie with, like, a lot of people involved who hadn't really worked in special effects. So, again, just one of those areas where you're like, it's amazing that this movie worked out. Again, like, they didn't have a studio they could go to. They found one guy who was like, yeah, I've been meaning to leave and, like, start my own company. Fuck it, why not now?
50:01
Yeah. There was so many things that just lined up together. The. The cultural mood, the people behind it, everything else. And that's just another piece of that. Yeah.
50:11
And apparently Reitman, who had never done all this before, was really frustrated by, like, oh, you have to storyboard this all. You can't just, like, find it in the edit. Yeah.
50:19
I think at some point he was like, we need, like, 100 special effects shots. I will murder you, Mr. Reitman. Can we make it 50? Fine. Like, one of those kinds of things. Like, just. Yeah, like, not quite Tom Hooper Katz level of not understanding how effects work. But, you know.
50:37
So let's talk about the song.
50:40
Like, probably iconic song.
50:43
Yeah.
50:43
Everybody knows the song. I Ain't Afraid of no Ghost. I didn't sing it, so can't be sued.
50:51
Well, even the original people who sang it got sued.
50:54
I was about to say, like, if I start humming it, will I be sued more for Ghostbusters or I want a new drug.
51:00
Right. So I want a new drug, apparently, is what they used when they were cutting together that montage. And so that was a it that became part of the inspiration for, like. Oh, it has to have roughly the same, like, BPM rhythm to it. Yeah. But as a result, it is.
51:14
Yeah.
51:15
So Ray Parker Jr. Who had this huge hit, it spent three weeks at number one on the billboards. It's a huge song. Like, there's a reason why it has to be attached to indie Ghostbuster property. After that point, it was theme song for the show. You know, it continues just to be huge. I can't not hear it in my head, like, just talking about it because it's so good.
51:35
It is so loud in my head right now.
51:38
So loud in my head. We can't sing it though.
51:41
I'm also thinking of like several other off the beaten path songs that I often think about that utilize the Ghostbusters theme, like Ghost Ride the Whip and Neil Cicierga's song Bustin off of mouth moods. You know, it just shows the evergreen qualities of. Of the original and how well it can be applied across the board.
52:06
Yeah. It's estimated that the song added 20 million to the box office.
52:10
Taken, probably.
52:12
That makes sense.
52:13
Yeah.
52:13
Yeah.
52:14
That all tracks. Because it's. It is a great song. It's great.
52:20
Yeah.
52:21
I requested it be played at my friend's wedding and it was good. People are very excited. It's a good movie. It's a good song.
52:31
It's a great song. It is a little ominous for a wedding, although.
52:35
No, it was great.
52:37
They were afraid of no ghost.
52:39
I was about to say. Like, it's in poor taste but almost okay at a funeral. So it'd be like, that's the only exception.
52:46
But it's actually very appropriate at a funeral and I hope someone plays it at mine. Actually, I want a chorus to sing it at mine. I'll put that in a will somewhere.
52:55
Yeah. You know what?
52:55
Barbershop quartet.
52:57
Oh, that'd be amazing, man.
53:00
This. This is the kind of thing that we should set in stone. Like. So you heard it here, folks. When Sam dies, hopefully not anytime soon. So hopefully we're talking about years and decades, decades from now.
53:11
I'll write you the arrangement now just so it's done. Okay.
53:13
Yeah, that'd be wonderful. I mean, honestly, I'm. I'm taking volunteers too. Like, I just think it'd be wonderful to have, you know, a bunch of people, maybe even if they're strangers, come together and sing this song at my funeral. It'd be lovely. Fitting tribute to me and my life. Especially since I'm afraid y Cat.
53:34
Too bad she was in fact afraid of ghosts. That is how she died.
53:38
You can usher me into the afterlife by telling me to be brave by singing this song to me.
53:44
It's like some twisted version of the low there. Do I see my father's prayer from 13th way?
53:50
Exactly.
53:51
Wow. Yeah.
53:52
Yeah.
53:54
I will be sure. Although let's be honest here. I'm going to die before you, Sam.
53:57
Well, if you keep wearing flip flops and hailstorms. Yeah.
54:01
So this movie comes out like they make their deadlines, you know, like once. Once they're really into it. Like again, these are all top talents at the top of their game. Even if it's crazy that they got the money to do it in the first place. Aykroyd is an amazing writer and performer. Ramis is an amazing writer and performer. Reitman is a rising star of a director. Murray is incredibly, you know, he's huge. He's a super talent.
54:24
You get him there and he's going to be great.
54:26
Yeah. You get him to set and you tell him what to say. Maybe with some cue cards. But you get him there and you tell him what to say. He's going to be good. It's not a surprise once they actually are able to make this movie. It's just incredible that they got into a position where they could make this movie. And they're young enough that they have the energy to make this movie in the time they had because a slightly cushier life and being a little less hungry for shit. Like they're probably not going to do as well at this all.
54:56
Yeah.
54:56
But the movie comes out and it makes 295 million at the box office.
55:02
Incredible.
55:03
Not profitable, though.
55:04
Not profitable.
55:05
Not profitable.
55:06
Sorry.
55:06
Didn't make a dime.
55:07
Didn't make a dime.
55:08
Cannot pay back. Cannot pay back. For the usage of the name Golly. Not profitable.
55:13
Everything's so expensive. But this also just showcases. Yeah. The quick. The quick production. Everything. I have such a love hate relationship with improv in filmmaking because improvisation and improv skills are a vital part of the toolbox in creating art. As an actor, as a director, as a producer, anything like that. And being able to trust the creative spark and being able to. There's so many little moments in Ghostbusters that are built on the idea of like you just had that idea. You did not write into the script. Tapping on the highest keys on the piano and saying they hate this. Like that is very much a Bill Murray. Got to walk around the set for a moment and go, what about this? And go for it. And that's improv just as much because it's not written on the page. Right.
56:08
And I think a lot of those guys, because they're Second City guys of all genders of their Second City, it was much more of a improv is make your scene partner look good. It's, you know, don't die on stage. So you gotta help everybody out. And it's only moments, but you still gotta stick to the script. I guess my more negative relationship with it is watching things where it's just like, I'll just go, we'll leave the cameras on. Just.
56:33
Just.
56:33
Just make whatever. I don't think I would have enjoyed any Ghostbusters scene like that. And I think the nice balance of it, allowing for the creative spark of those hungry performers, of those people at the top of their game to just sort of bounce off of this concept and bring themselves to it, made for all of these remarkable moments, everybody trying to push for something which just as the script came from a place of truth and a sense of humor about oneself and circumstances, so, too, did that carry through to everything. And they didn't have enough time to second guess it. So you had to have that creative spark behind everything you were doing.
57:15
Yeah. I was surprised to read after the movie came out that Murray quit acting for four years after this, in part because he feels like he had, like, peaked. He had a terrible production, the Razor's Edge, which was like his passion project, and that bombed. And then he did this, and it was like, I don't think I can ever do anything as good. And just sort of stepped back from acting until he came back for Scrooged,
57:37
Which, frankly, is one of my favorite movies.
57:39
So, yeah, Scrooge is great.
57:42
Hudson also was disappointed with the part, but that is to be expected, especially because the script that he read and auditioned for is not the one that they went with. It was. It had the larger Zettimore part, so it was massively reduced. And he got this, the shortened script right as he was coming into film. So it wasn't like he had a chance to, like, process it and decide if he wanted to stick with it. It was basically like, days before, it was like, here's your new script.
58:07
Off we go.
58:08
All those things you thought you were doing, you're not well.
58:10
And there was plenty that was filmed. And cut. It was very judicious editing, but, you.
58:16
Know, again, like, at the time, it was well liked. Critics, generally speaking, were pretty positive. Roger Ebert. Roger Ebert had an interesting quote about it because he gave it three and a half stars and indicated that it was like the rare, like, pretty good special effects, heavy blockbuster. And it's like, oh, but that's just like, this is the beginning. Like, we're so early in that process.
58:39
Yeah, it's interesting. Like, the movie holds up. There's weak spots. There's Issues. There's whatever else, but it's incredible to look at it in its place in film history and in general. So much still carries through.
58:54
Yeah. And it's still like genuinely a fun film to watch. I mean, like, the scene where the stuff Puff Marshmallow man shows up is still hilarious. And his facial features are amazing. Like when he's just walking around this giant thing destroying stuff, looking so cute, and then all of a sudden he gets really angry and it's even more adorable and he's just destroying stuff. It's so enjoyable. It's actually like. And there are good performances all the way around. Yeah. Some. Some creep factors here and there, but for the most part, this. This film still really holds up. It's still really fun.
59:34
And yeah, on the flip side of those good special effects, the. The human moments of the introduction of the Stay Puft Marshmallow man of the whole, like, I couldn't help it. It just popped in there. What, Ray? What just popped in there?
59:47
Yeah, it.
59:48
Like both sides of that coin sell the movie.
59:52
It's. It's so great. And he's just like. I thought of. I thought of the thing that could hurt us the least. And it's like, it's beautiful. Wrong.
01:00:00
Like, it's. That would work on a theatrical stage.
01:00:04
Absolutely.
01:00:05
But also a Marshmallow man.
01:00:08
Yeah. Yeah. I did really enjoy that bit because it's more of the acroyd having this nostalgia for everything kind of thing and this, like, general curiosity about life that I really appreciate. I mean, the movie is not perfect. Like, I Like, it's amazing that it was made. It is so successful and it is so good at what it set out to do. But there are some hiccup spots in there. Like the whole EPA subplot I think is one, unnecessary. And two, kind of the problem of the 80s with like governments trying to crush, you know, the small. Like small businesses. When I was a kid, I didn't process that they didn't work for the city.
01:00:43
Yeah.
01:00:43
You know, like, it right around in what looks like an ambulance. It, you know, it took me years to realize, like, oh, it's actually a hearse, but, you know, but it looks like an ambulance. You know, it's white with like, you know, with all the lights and so forth on it. Like, they feel like emergency response people. So it feels like firemen or like I said, like, well, they're in a medical technician.
01:01:04
Yeah.
01:01:04
They're in a firehouse. So it feels like they should be. But to present it being like, oh, well, it's got to be, you know, small businesses, like, Ray has a line where it's just like, you haven't worked outside of the university. When you work in the private sector, they want results.
01:01:17
Yep.
01:01:18
You know, those are those moments where it's just like, oh, yeah, that's. That's really 80s right there, guys.
01:01:22
Everybody has three mortgages.
01:01:24
Everybody. Everybody. I also.
01:01:26
There's no housing crisis.
01:01:28
I have to say that now as an adult, like, when I was watching this, you know, like, refreshing my memory about this movie, I was like, actually, you know, how he went about it was really bad. But they do have, like, some nuclear and some, like, really weird physics shit going on in the center of a city that probably is not safe. Like, there is a reason why colliders are usually in areas that are not heavily, densely populated.
01:02:03
Yeah.
01:02:04
There's a reason why, like, those labs tend to be in spaces that are not, I don't know, in the center of New York City. And I was just like, actually, the EPA kind of has a point. I don't know if that is actually the agency that would shut them down. But actually, he's completely reasonable. Except for how he shuts it down.
01:02:28
Exactly. Like, Walter Peck was an. But she did have a point.
01:02:33
Right?
01:02:33
Exactly.
01:02:34
Yeah. Like, he's so cartoonishly, like, overbearing about it all being, like, shut this all down. I'm not an idiot. And, like, I guess part of it, you could argue, is that, like, well, he thinks that they're, like, con men. Although, like, at this point, New York has been overrun with ghosts in a way that, like, who hasn't seen a ghost?
01:02:49
Yeah.
01:02:51
In the universe.
01:02:52
There's a bit of that. There's a bit of that. And, like, yeah, the first meeting with Venkman. Like, I think the problem is he met with Venkman first, but he didn't control that. And so, yeah, the first meeting is almost reasonable, but there is definitely both of them just waiting to jump down the other one's throat.
01:03:06
Although I'll be honest, if, like, I hopped in a cab and my cab driver was a ghost, I don't know if I would know. And if he got me where I needed to be, I don't think I'd complain.
01:03:15
Yeah, it's a reverse New Orleans cab situation. Apparently, in earlier script drafts, the containment facility was meant to be under a gas station in New Jersey.
01:03:26
Oh, my God, that's even worse.
01:03:27
And I think part of it was the fact it's, like, the worst place to spend eternity. New Jersey.
01:03:32
And they Would have been doing this right around the same time as a Toxic Avenger. So it's just like New Jersey's getting, like, all. All the hate slash love. Yeah, yeah.
01:03:41
Deeply New York. Very deeply New York.
01:03:43
Exactly. I was gonna say. That's consistent. I mean, like, I was born and raised in New York. There is just a feeling. There's just jokes that you just make about New Jersey.
01:03:53
I remember when I was in college, someone I was dating was basically like, why do you have to have, like, so much, like, weird pride about being from New Jersey? It's like, if you spend your entire life living next to a state that every time you say where you're from, they go, oh, I'm sorry. And that's the most polite they are to you. You're gonna develop a complex about it.
01:04:12
Yeah. It's either, oh, I'm sorry. Oh, or even worse. Figures.
01:04:17
Yeah.
01:04:18
Because then you're not sure what they judged you about. I've said it to people, and I'm sorry to those people. Sort of. You kind of deserved it. Those people.
01:04:26
Yeah.
01:04:27
Not Jeff. Not Jeff.
01:04:28
No.
01:04:28
No. Those people deserved something. And that's what you went with.
01:04:32
Something. Yes, something. But, you know, while you're not even.
01:04:37
A good scientist, you are a poor scientist.
01:04:41
Like, exactly. While the movie itself, like, there are elements that have not aged well. Again, Venkman is kind of a rapist. And the EPA stuff is kind of like, no, that actually should have been the issue. Like, you shouldn't have nuclear shit in New York City. And it was just weird that they were like, yeah, we'll just turn it all off right now. Without actually, like, yeah, you know, that. That.
01:05:01
That's on Peck. That's. He should have listened to Con Ed.
01:05:04
There, But poor Con Ed. Just in the middle of that, just been like, I don't know.
01:05:08
I've never seen anything like this before. Listen to expertise.
01:05:11
Also very New York.
01:05:13
Also very New York. Yes.
01:05:14
Yeah. But it's a movie that does hold up really well. Like, it is still really funny. It was shocking that it got made. It, like, it is incredible. And the just talent involved in this movie, like, they all go on to do crazy stuff. Almost all of these people we've talked about on other fifth episodes, you know, like, we didn't really talk too much about the special effects part of it, but that studio that was invented there then worked on Die Hard. And, like, one of the things that they were trying to tackle was the difference between comedic explosions versus. Versus having an explosion that actually looked real. For the different types of movies there.
01:05:47
That is what I love about expertise and about getting deep into something. One does not have to get deep into everything, but if you look in a little bit, you're like, I guess there's a difference. Yeah. I didn't have to think about it, but thank you. You gotta be funny about your explosion sometimes. Yeah.
01:06:05
It's such a good movie. Overall, I'm so glad to revisit this. Jeff, I'm so glad that you suggested that we talk about it.
01:06:11
Oh, God, yeah. No, Any excuse to talk about Ghostbusters.
01:06:14
I mean, honestly, for the opening library scene alone with all the floating book and the flying catalog. But it was worth it to just see that, you know?
01:06:25
Yeah. And there's. It is very funny to see. Yes. How so much of the people who worked on this film, like, they were doing great things before, and some went on to do even better things later. And it is such a. Much like the concept of the Ghostbusters themselves. There is no reason it should have done as well as it did. But it did, and everyone is so much better for it.
01:06:48
Yeah. So, you know, again, like, this is the type of movie we talk about on these fifth episodes. Movies that shouldn't, by all rights, have been a successful movie and then ended up being so. So, you know, from the starting point that it was written for a man who died to the complete lack of any sort of preparation for. To do this giant special effects, you know, extravaganza, they're making creatures that.
01:07:14
For a script that wasn't even done yet.
01:07:16
Yeah. Pulling in people, like, left and right. Having. Having writers who just, like, were like, no, I can. I can do this. God damn it. And stepping in to play the parts, the massive changes all across the board, that. The tight filming schedule, the fact that they got chased away by guards, the fact that they pissed off Isaac Asimov, all these things, you would think this movie wouldn't be a hit, and it fucking was. And it is one that has endured and has continued to become more and more culturally relevant. And even if none of the sequels have lived up to it.
01:07:47
Yeah. And that's not the fault of anybody involved in any of the films that have come since. It's just. It was of a time.
01:07:53
Yeah.
01:07:54
Plasma in a bottle.
01:07:55
Plasma in a bottle.
01:07:56
We all got slimed.
01:07:57
We didn't talk about that, but that was like a weird catchphrase at the time. Like that. That was akin to a Where's the beef? Level of memetic. He's me. Yeah. Again, just like, just a really impressive legacy for a movie that could have been a complete and total disaster.
01:08:14
Yeah, it holds up. It's eminently quotable. It's got great characters, it had some great parts, and it is so much greater than the sum of its parts.
01:08:23
Yeah, well, I think that's about it for discussion of Ghostbuster. So, Jeff, why don't you give a summary of the parts that you care about, the stuff that you've got going on? What have you got going on out there?
01:08:35
What have I got going on right now, outside of talking about Ghostbusters? Well, depending on when this episode comes out, I'm gearing up to go to Pax east with Matt and Frankie from Reignite, and we're gonna be doing a panel about queer representation in video games. And we'll be chatting with a bunch of folks there, and that'll be a lot of fun. And in the meantime, to paraphrase James Earl Jones, I'm an actor. I'm perpetually unemployed, and so, you know, there'll be things coming up. I mostly live in this booth and just having a good time. If you want to find me online, I'm on Twitter @JeffMakesNoise. G E O F F Makes Noise. You can check out episodes of Fun and Games podcast on the certain POV site.
01:09:18
Yeah.
01:09:18
And after you go to certainpov.com to look at Fun and Games, you can check out all these other great shows that we have. You can find a link to our Discord server where we are not having the call on it at the moment, but we often do these calls. You can come share memes every now and then. We'll do karaoke nights. We'll do events. You'll find sneak peeks for new episodes that are coming out. Tons of great stuff there. So definitely go over to certainpov.com find more shows. So many good shows. Well, actually, we should definitely give a plug to one of our latest editions, which is that we, as of recording this, we just dropped the first season of United States of Women, which is a new podcast that we are bringing on from Geek Elite Media now that network has gone under.
01:10:02
But we're all of our friends there, we want to support. And I was really adamant that this was a great show. It is a show that discusses women from each state in the union going in the order that it joined the United States. So it starts with Delaware and works its way in the order of, like, who ratified first the Constitution and then actually who, like, you know, what territories came on the States. So the this month, April, we are dropping each of the existing seasons each week and then in May new episodes are going to drop finishing off the Georgia season. So definitely check that out. United States of Women. It's really cool. Elizabeth and Jessica are awesome knowledgeable people who are just a lot of fun to listen to them like gush about, you know, these under remarked upon women of history.
01:10:48
So check that out. It's@ certainpow.com Sam if people wanted to find you, where could they find you?
01:10:53
They can find me here where we discuss all sorts of movies and occasionally I check the discord trying to better about it. But other than that I am actually having brunch in a firehouse with my best friend Slimer. So if you have any complaints or any questions, you can find Case at.
01:11:12
Well as I am the medium that channels the ghost that is Sam because you know, for everyone out there, Sam actually did die a long time ago. We played Ghostbusters at her funeral, but it was beautiful. I am the living avatar who you can reach out to. You can find me on Twitter. Aace Aiken. You can find the show at Another Pass. Yeah, check out all the stuff we're working on. We got great stuff, including on this show. Sam, what is coming up next time?
01:11:40
Well, it's going to be a shocker. Next time we'll be talking about Highlander 2 the Quickening. But until then, if you enjoyed this, pass it on.
01:11:55
Thanks for listening to Certain Point of View's Another Pass podcast. Don't miss an episode. Just subscribe and review the show on itunes. Just go to certainpov.com.
01:12:09
Another pass is a certain POV production. Our hosts are Sam Alicea and Case Aiken. The show is edited by Matt Storm. Our logo and episode art is by Case Aiken. Our intro theme is by Vin Macri and our outro theme is by Matt Brogan.
01:12:24
I'm sorry, I've been sitting here for like the last like 40 minutes, like adding notes and stuff and now I'm just like, I have to be. Do you mind if I. Sorry if I. Come on. Be right back. Sorry.
01:12:34
Leave the recording running. We've got timing to do.
01:12:38
That's right, Case. Good job.
01:12:40
There we go.
01:12:41
Matt, he just doesn't even care about you. Just. I know that out of the two of us on Another pass, I care about you most. That's just I. I'm always thanking you. And clearly Case doesn't care about your time because he just got up to use the bathroom. Irresponsible Exactly.
01:12:56
Does he even listen? Does Case even listen to this? No. No, he doesn't. No. Matt, you know I love you. This is fine. This. My commitment has been stated and obvious. I've got nothing that I need to defend here.
01:13:08
Nothing. But Case, when he comes back, I mean, I think he's got a lot to answer for.
01:13:13
Right. Just.
01:13:15
Yeah.
01:13:15
So many things. The council is in session.
01:13:18
Next time he comes into the city, I think we should have, like, a friendship intervention. Just, like, how to appreciate your friends more, Case. And don't Charles in charge and try to do 20 things at once. Make plans with one friend, maybe.
01:13:31
Yeah. Unfortunately, I called the leg store and they have nothing for me to stand on as far as being a better friend kind of thing. I am. I'm a space cadet. I know this.
01:13:43
You know what? You own it. And that's fine.
01:13:46
That's fair. I try to embody the fact of. I ask much of people, but I try to give much when I can. That's. That's the idea.
01:13:54
Yeah. I mean, as long as you own stuff, you know?
01:13:57
Exactly.
01:13:58
But. But I personally enjoy making Case feel guilty, so I hope he does hear this. And this.
01:14:05
This can all. This can all be post credits.
01:14:07
Just. Sorry.
01:14:10
See, he's already apologizing. He's already here.
01:14:14
Sorry about that. I was just like.
01:14:17
Yeah, I know you are.
01:14:18
Huh?
01:14:20
Yeah.
01:14:20
Restaurant experience of tonight was also, like, being like, oh, right, they just keep refilling your water like crazy.
01:14:25
Oh, I drink so much water tonight. So much water.
01:14:28
I've had so little water. I. Today was actually nice. I was outside with some friends and stuff, but we didn't really have a ton of water, so I'm remedying that now. Yeah.
01:14:39
Cpov certainpow.com.