you know this has been a slow burn over the last 10 years you know these characters kind of came
into my head and i didn't really know who they were eventually i realized they were the spengler
family and i really found myself ready to tell the story once it kind of mirrored my own life you
know i'm the son of a ghostbuster and once i knew they were the grandchildren of ghostbuster and
this film would be about picking up that legacy i knew how to tell it you know egon spengler was
my favorite ghostbuster everyone has a favorite ghostbuster it's like having a favorite beetle
and uh for whatever reason egon who was brilliant and quiet and misunderstood uh he really
he spoke to me he made me laugh the most and so it made the most sense to me to follow through in his
family trajectory i think this was my personal way into the story i you know i think that the
the story of the four original ghostbusters is a story that belongs to my father and dan
aykroyd and harold ramus and they told that story beautifully and i wanted to expand the universe
and start with new characters in a new place on a new adventure in a way that still reminded
you of everything you love about ghostbusters with details of everything you love from the pax to the
car to the flight suits to the ghost to the tarot dogs to the guys and at the same time
start expanding what a ghostbusters movie could look like where it could take place who could star
so that we can open up this universe and start getting more films from other parts
if i'm gonna pick up the baton carry the torch for a bit uh i don't want to let anyone down
particularly my father so i only stepped in once i knew exactly what i wanted to do and i thought
it was possible to make a film that was a worthy sequel this is so rad
we had written a family that we were really proud of and we cast a very wide
net we looked at tapes from around the world and fortunately we found not only
you know young actors that we're very familiar with like finn wolfhard and mckenna grace
but new actors like logan kim and celeste o'connor that i think audiences are gonna fall in love
him right away
gil cannon and i wanted to write a young hero a young woman who was brilliant and a scientist
uh and misunderstood just like her grandfather egon and we wanted to create a young woman
that our daughters could look up to so i would love to continue telling her story
paul rudd is the kind of genius comedian that i could almost imagine my father
casting back in 1984 had he been the right age he's the kind of actor who makes everything he's
in better he's a great writer he's a great improviser and he's a perfect ghostbuster
yeah it's a real thing
we were lucky in that we were working with just incredible artisans uh the nice thing about when
you say you're doing ghostbusters is you get all these creature creators and designers and artists
and puppeteers who grew up loving ghostbusters and want nothing more than to add something
to that mythology so uh from the people uh designing pen on paper to the people actually uh
sculpting out of clay and creating these maquettes and
uh they were all ghostbusters fans and they wanted to get it right as much as i did
this is my first uh movie working with francois he's a genius and had done extraordinary work
uh before ghostbusters i feel very lucky to have worked with him he and i talked about creating
real sets from the very beginning we didn't want to make a movie inside a green screen stage we
wanted to make a film the way they did it in 84. 84 where if we were going to build giant gosarian
steps or build giant temples we would make them and we had an extraordinary team up in calgary
and the actors were working in the real thing when they walked around the sets they were really there
one of the great joys of making this film was finally getting to do action sequences you
know there was no car chase in juneau uh so to have ecto-1 flying around corners you know with
mckenna grace hanging outside busting a ghost dead little rtv going uh it was a real thrill
uh but in addition to that really getting into the type of filmmaking that my father did in the 84
dry ice wires magnets mirrors
and of course puppetry and animatronics something i've wanted to do my entire life
it's a different kind of directing you know uh my career has been mostly made of you know
filming people talking and uh it's a whole other thing to have these storyboarded sequences
and to be shooting things over long periods of time the centerpiece car chase of this film the
muncher chase which i could basically watch every day uh it took the entire film shoot together yeah
that was awesome i gotta say that was pretty cool so now i'm gonna give you a high five
i told you to trap him okay it's fine again next time okay yeah okay uh this has been an
extraordinary couple years for the world and i've been very fortunate more fortunate than
most and it gave us an opportunity to look at the movie the way a screenwriter looks a script
we were able to set it down the way you would a script and come back to it
months later and watch it with fresh eyes and we made various little adjustments along the way and
particularly had more time to work on visual effects which as you know this is my first
visual effects film so there was a high learning curve for me as i figured out how to do this and
certainly was able to dial in certain characters and effects way better than him two years ago
yes first and foremost we wanted to create a film that was a foundation for more ghostbusters i'd
love to see my favorite directors come into this mythology and direct ghostbusters movies every
culture around the world has a relationship with supernatural and it deserves to be more movies
i hope i hope sony gets behind it but yeah i mean we wanted to create
a larger ghostbusters mythology we see this as just the next chapter in ghostbusters
and think there are so many ghostbusters stories to be told
some amazing behind the scenes we got here from ghostbusters afterlife
with jason reitman directing it's kind of on a whole new uh wavelength on this franchise and
just taking it um on a different uh route uh than we normally have seen ghostbusters
which normally took place only in the nyc in new york city which i was born in new
jersey and my dad's from the bronx himself which i've said here before with the west side story
behind the scenes but it's really cool all the kinds of stuff that's on this behind the scenes
for ghostbusters where you see all the really um cool things that they bring on set that they've
done live on set instead of uh having uh visual effects it's mainly a lot of practical effects
on set making their debut uh once again so this is really really cool to see this kind
of stuff happening in hollywood because practical effects is really really good
when it's um used in the right way and then using vfx to kind of polish it if you know what i mean
so if you learned some really cool stuff here let me know down in the comments down below
about ghostbusters afterlife any filmmaking stuff that you've noticed and um have you seen
any other jason wright films other than juno maybe you've seen uh up in the air or anything like that
he's a phenomenal filmmaker and a phenomenal drama filmmaker so i wasn't surprised when he brought in
some kind of a dramatic tension and dramatic uh story behind ghostbusters afterlife so go
ahead and check it out in theaters which is only in theaters currently right now and down
the description below you'll find imdb links where you can find out more about the filmmaker
and cast and crew as well with all that being said i hope your holiday is going well and christmas is
coming up soon so i'll have um about three more behind the scenes coming out with the kingsman
uh matrix resurrection and sing part two so expect that here on greenlight don't
forget to hit the like button and subscribe button and i'll see you here next time later