One of the greatest times that I had in running Ghostbusters HQ was around the time that Extreme Ghostbusters was first airing on TV. While the series didn't have legs and never made it past one season, it was the first taste of new Ghostbusters material that us fans had in a long time.
Several of the good folks involved in Extreme Ghostbusters were kind enough to let this shlubby little kid interview them for the site. The most gracious was Shannon Muir, whom I'm still glad to call a friend to this day. Here is that interview as it originally was posted in August of 1997.
Troy - Thanks for doing this interview with me, Shannon. First let's start by asking what exactly it was that you did on the EXTREME GHOSTBUSTERS (XGB) show.
Shannon - You have no idea how big a question that is! I was a Production Supervisor. Production Supervisors have a lot of responsibilties. Basically a Production Supervisor is a conduit of information between different departments that brings things together to get an episode made.
Pretty vague, huh? Well, I'll TRY to explain it all. Also bear in mind this is the way it worked on EXTREME GHOSTBUSTERS, every studio has different processes...
First, I worked with the Art Department -- who draw the backgrounds, props, and character reference -- to make sure the primary designs needed for a script are done in time for the storyboard handout. Then I worked with the directors, communicating with their storyboard artists and seeing that they got any additional needed models for both rough and clean-up (final) stages.
After the storyboards are approved by the head producers, and their changes incorporated, final storyboards (SBs) and models are generated. This information is also given to what is called a timing department, where they use special sheets (exposure sheets, or x-sheets) to dictate how long each and every action in the show should take, since a SB generally shows only broad strokes of action. The color department also receives copies of the SB and models, and they use computers to color in the models to send overseas. For lack of a better phrase, it a color-by-number process -- color models are also notated with numerical references for each color, for which overseas has a matching, previously-agreed-on color palette.
All this stuff is packed up and sent to the overseas studios by the Production Suervisors. At this stage, the overseas studios start FAXing questions about elements that are not clear to them. I would then go to whatever department the questions pertained to, get the answers, and FAX them back overseas. Sometimes I even spoke by phone with the overseas coordinators.
The last phase is post-production. The film comes back and is transferred to a digital (computer) medium for editing. Scenes are then taken out, and sometimes even rearranged! When time permits, if overseas has made mistakes on coloring or drawing scenes, a studio asks to have them re-done (otherwise you find ways to edit around them). A Production Supervisor is responsible for logging all the needed retakes, communicating that information to overseas, and then logging when the retakes are returned to see whether or not they can be used in a show.
As you can see, this is a LOT of work. Episodes would originally get assigned to certain Production Supervisors based on who was directing the episode. However, we came to find over time that some people became more burdened than others, so we ended up swapping responsibilities for some episodes. Also, several of the Production Supervisors got moved to other shows (such as MEN IN BLACK and CHANNEL UMPTEE-3, premeiring October 11th on Kids WB!). That's why so may episodes list a "team effort" for Production Supervisors.
Troy - In the episode "Killjoys" Egon uses an odd looking proton pack with a set of lights and what look like satillietes on the top. What was this piece of equipment?
Shannon - I've been waiting for this question! It's the deluxe equipment Egon is marketed with. I just saw the toys in a store the other day for the first time, and what it got called on the toy is not the same name it had in the early prototypes we sent to Trendmasters (why I don't know). Unfortunately, I have gotten the name of this piece of equipment and the deluxe piece of Eduardo's equipment confused. All I can say is... check the toy shelves. It's original name was "Field Projector," for what it's worth.
Exactly what the added equipment is supposed to do, I'm not clear on. I definitely don't think "Killjoys" clearly shows what it does. The director added the use of this equipment to the episode, it wasn't originally scripted. These weapons were designed early on because I think they were considering moving away from using the proton guns in favor of different equipment on the show -- but what is Ghostbusting without proton guns? Just my opinion.
If I remember right, the "portable containment unit" Roland is marketed with was written into one of the later episodes of the series... but under its original name of "Ghost Vacuum." Actually, I just noticed that he's leaning on it in the group shot of the opening credits!
Troy - Probably the question on everyone's mind is 'When will we get to see the old GB crew?'
Shannon - That's the 2-part season finale. That was scheduled for mid-November, last I heard.
Troy - Anything that you can give away about this special episode?
Shannon - You'll find out what Peter, Ray, and Winston have been up to. And you'll definitely get to compare both crews and see what you think. They'll have to team up against something REALLY BIG. Not sure what else I can tell you without ruining the plot... and if I do that you might not watch!
Troy - Did you feel that there was a great deal of expectation from fans of the Real Ghostbusters cartoon show putting a pressure on you during production?
Shannon - Within the studio itself, no. Other than a reference point when we were working on the 2-part pilot and the 2-part season ender, we didn't really spend much time focusing on REAL GHOSTBUSTERS as a crew. Personally, however, I was aware of all the fans on the 'Net and knew what they hoped for. A lot of that was behind my energy to make the best show possible. I'm always big on continuity and a stickler on details in general, but I think I was even moreso with this series... at least in those areas within my power.
Troy - As a fan of animation, were you impressed with the results of the show?
Shannon - Overall, yes. There are some episodes out of the 10 that have aired so far (when I'm answering this) that are not as good as others... there'll always be some that are that way in any series, I think. I'm particularly proud of the "Darkness at Noon" 2-part pilot and "The Unseen."
Troy - Thanks for this brief interview Shannon, we look forward to hearing from you in the future!
Shannon - You're definitely welcome. The last thing I'm going to do before I close is give a rundown on the voice actors, because I know people have been curious. Maurice LaMarche is back as Egon (who, in my honest opinion, is irreplacable). Interestingly enough Janine is not voiced by either actress who played her in the REAL GHOSTBUSTERS -- the talented Pat Musick takes up where first Cree Summer and then Kath Soucie left off, I think perhaps because they wanted to give Janine a slightly more "mature" sound and they felt Pat could provide that. Garrett is brought to life by STEP BY STEP's Jason Marsden, and Roland by IN THE HOUSE's Alfonso Ribiero. Kylie is Tara Charendoff, Eduardo is Rino Romano, and Slimer is currently voiced by the incredibly talented Billy West (who also provides the voice of recurring character Mayor McShane). I got to see these folks in action at an episode recording one night. The level of professionalism and talent of the cast is truly exceptional, and I think they brought a lot to their characters.