Now hitting the podcast feed of your choice, the 100th episode of the Ghostbusters Interdimensional Crossrip podcast! To mark the occasion, we're chatting with Ivan Reitman and Dan Aykroyd about the nature of comedy, the legacy of Ghostbusters, and a whole lot more. Join us on iTunes, Stitcher, Google Play or by listening via web here!
And so the post-Ghostbusters (2016) slate begins - Sony Pictures Animation announced a brand-new animated series coming in two year's time, Ghostbusters: Ecto Force.
According to the press release, the series will will further expand the Ghostbusters cinematic universe and focus on a new generation of Ghostbusters in the year 2050 who capture ghosts around the world with help from local teams—and some very cool gear! The younger-skewing Sony Pictures Animation project is being creatively spearheaded by Ivan Reitman and his production company Ghost Corps. Ghostbusters: Ecto Force is eyeing an early 2018 debut.
No word on additional creative team (art director, writers, etc.) but we'll keep you posted as we hear more. Very exciting seeing the possibility of what everything will bring, especially with a premise that is set in the canon universe but more than 30 years in the future. Shade of Dan Aykroyd's original drafts coming to life?
The big story today is, quite obviously, the first Ghostbusters trailer in nearly thirty years. Once again the familiar tones of Ray Parker Jr.'s iconic theme, the familiar sights, the jump scares, and the laughs are on the big screen and it's a glorious thing.
What might be buried under the lead today is the tremendous branch that Sony and the newly-formed Ivan Reitman production company Ghost Corps extended to a select few fans, and the great lengths they went to make a memorable day for them. It's unfortunate that not everyone was able to attend, but when I refer to a select few there was still quite a gathering of fans from all around the country that were given a rare pass inside the gates of the Sony Pictures Studios, allowed to view the trailer with select members of the press in advance, and get to meet and thank some of their heroes - who were just as thankful and gracious in return.
The morning on Wednesday was chaotic, a very complicated press and marketing day with a lot of moving parts that, make no mistake, usually does not accompany a trailer launch but rather the proper premiere of the film. But the chaos was good natured, more of a buzz of excitement rather than an uncomfortable clutter. As fans arrived, some having driven through the night and the wee hours of the morning to make a 9am arrival time, they walked onto the studio lot and immediately caught a glimpse not just of the original 1959 Caddy Ectomobile, but its new "modern" counterpart waiting in the courtyard during their walk. It wasn't uncommon during that walk to hear gasps, backpacks and purses drop to the floor, and Ghostheads in full regalia go running toward the cars and immediately start posing for photo opportunities.
Sony laid out a spread of props, coffee and pastries for the fans and the press as they waited - many fans who have have discussed so many topics at so much length over the internet for years but were only meeting in person for the very first time. I have to admit, in the years that I've spent covering Ghostbusters and trying to be an industrious member of the community, I've been somewhat of a hermit in social gatherings and meeting people "IRL" as the kids say. Do they still say that? Whatever, it's irrelevant, Sony's Cary Grant theater quickly became overrun by flight suits, proton packs, and a whole lot of smiles.
Everyone was led into the theater and seated - fans were placed in the front rows, proton packs were catered to with care, and Ivan Reitman was up first to greet everyone and introduce Paul Feig. After quick introductions everyone was treated to the trailer...
I was so thankful that when fans chanted "one more time" because I was so overwhelmed with the first viewing of the trailer - after all this time, after all this waiting, it was too much of a blur to completely comprehend. A surreal experience where, by the time you realize you're watching a new Ghostbusters trailer, you're looking at the end sell cards at its tail. On the second viewing, I was able to have more of a genuine reaction (something that happened as well in watching The Force Awakens over the holidays, you're able to absorb more on the second viewing after so much anticipation).
Following the trailer viewing, a Q&A discussion with Ivan Reitman, Paul Feig and writer Katie Dippold commenced. It was a lively conversation, with so many great details that were revealed about the production process and the things that we've yet to still see. That entire discussion will be heard as a bonus episode of the Interdimensional Crossrip tomorrow.
The theatrical presentation came to a close and everyone flooded into the walkways of the lot outside, and back to the comfort of Ghost Corps' front yard which houses both Ectomobiles. Group photos were taken, autographs were signed, interviews for EPK, the Ghostheads documentary, and several other outlets were completed. And then Reitman took a position at the top of the stairs to the Grant Building and held court, presenting the franchises with certificates of their registration with Ghost Corps, shaking their hands, and posing for photos. After all of the certificates were handed out, more photos were taken and the crowd started to disperse. Paul Feig shook so many hands, graciously thanked everyone, and signed as many autographs as he could before his representatives shooed him away. During the Q&A, he made a point to talk about seeing the original Ghostbusters film for the first time and how much it impacted him. His love for the film, especially for all of the technology, is abundantly clear in the trailer and how he speaks of the film to come, and certainly was evident in the energy and enthusiasm he had for all of the fans on site.
That event in and of itself would have been extremely generous of all involved, but that's not where the day ended. Fans were then invited into a dining area near the theater for a catered lunch that featured themed foods and of course, gourmet Twinkies for dessert. As fans sat at giant roundtables and discussed everything that had just occurred (some lively discussions, some more tempered as exhaustion began to set in for some of those who had been up through the night), the room buzzed again as Ivan Reitman stepped in and went from table to table to have quick quality chats with each. As he sipped his coffee and the fans ate, they talked about the new film, the future of the franchise, and even shared laughs over how his other films like Meatballs were responsible for so many childhoods.
As shuttles and cars began to leave and the crowd thinned, the smiles were still present. It truly was a wonderful day in which the warmth, the love, and the respect between everyone involved was incredibly evident and it once again was clear that the fans are coming first. With so many dedicated fans, so many franchises, and so many active members of the community, not everyone could be included - but the gesture on the part of the studio and the production company was enormous and most likely only the first indication of many more things to come, in which I'm sure a greater number will be able to feel the love.
In the process of doing a little clean-up on my computer, I recently came across an analysis I had done in school for the blocking/setup of Peter Venkman's first encounter with Walter Peck in the original 1984 film. It was an exercise in dissecting a scene from a film to determine how blocking, camera setup and composition, lighting, editorial, music and directorial choices impacted the overall effectiveness of the scene.
Going back and re-reading it, I'm actually still fascinated with the findings and thought I'd share them with the masses... so here you go, here's my original essay from December of 2002 (and the scene courtesy of Ghostbusters.net for reference).
I chose to analyze this particular scene from “Ghostbusters” because it was one of the first things that I noticed after learning about analyzing the beats of a scene in class. It was an interesting realization to me because “Ghostbusters” has been a film that I have greatly admired and respected (and viewed countless times) and had never really noticed the structure to it like this before. It also adds so much to the relationship between the protagonist and the antagonist that I had not really caught onto and makes their rivalry that heats to the climax so much more memorable.
There is one beat to the scene really, however since there are two separate levels to the scene it could be said that there are two separate beats. The first beat hits the moment that Venkman tells Peck that he may not see the storage facility. It turns the tables, suddenly Peck goes from running the show to having resistance to his request. On a sub-level to the scene, the beat hits when Peter realizes that he’s being accused of fraud (not to mention there’s a hint that he knows that he’s operating without the required permits). This beat comes the moment of Peck’s monologue that accuses Venkman and the Ghostbusters of polluting with noxious gasses etc.
The scene proves to be more of a serious note in an otherwise light and goofy comedy. While “Ghostbusters” isn’t exactly a National Lampoon film, it is a very light and genre pieced blockbuster comedy. It is lit very lightly and vibrantly. The actors quip funny lines frequently. This scene fits well into the film because it highlights the smart-ass remarks of Venkman adding some comic relief to the tension.
The pacing of the scene is very casual and slow at first. The shots are a bit longer and since they are wider shots, they seem to be orienting the viewer as to their surroundings and the characters before they get into the thick of things. There are brief pauses between the characters’ lines at first. Then it begins to pick up pace as the two realize that they both have other motives behind the meeting. The actors begin to read their lines quicker after the line “Why do you want to see the storage facility?” Peck realizes that he’s getting nowhere and will continue to go nowhere and begins attacking. It is a gradual process, however.
The scene begins with a wide shot as the two characters are introduced to each other. It quickly cuts to a tilt that reveals the “slime on the suit” gag. Then cuts back to an even wider shot to not only establish Peter Venkman’s office once again (it appears earlier in the film when Peter first meets Dana Barrett) but to establish the casual, and ordinary meeting of the two characters. The first close up is the first moment that a hostile line is spoken. When Peck asks, “What exactly are you a doctor of?” in a very sarcastic and inquisitive tone is the first moment we are drawn into a close up. A close, but high angle on Venkman as he answers the question shows that Venkman didn’t expect the attack at first. As the questioning continues, Peck walks away to turn his close-up into a medium shot (which then cuts back to a new setup medium shot of Venkman in the exact same placement as Peck). Then it’s back to a close up as Peck asks “May I see the storage facility?” Venkman says no and immediately it cuts to a 2 shot where the actors are on the same level, the same plane, worthy opponents for each other. Back to even closer shots of both filling the frame intercut with 2 shots where they appear to be right in each others’ faces (as the tensions get high toward the end of the scene). Again, on the same level on the same plane. Venkman stands to take dominance in the scene (fills the frame with a tilt up to an Extreme Close Up) which is immediately matched in an identical shot by Peck (tilt up to Extreme Close Up mirrored to Venkman) to show that indeed, these two will be butting heads on the same level again.
The main character (Venkman) achieves his goal of pushing Peck away with the activation of his defense mechanism that is established the moment that the character is introduced. He knows that he is superior to everyone else and quips wisecracks at the expense of those below him. As Peck threatens with unlicensed waste handling, Venkman’s objective quickly goes from schmoozing with the government official to threatening law suit and trying to push his adversary away.
As far as acting methods go, the actors begin casual. As it becomes apparent to their characters that there are tensions between the two of them and that they will be facing off against each other, they begin limiting the space between them. Both are unwilling to budge. While Peck (William Atherton) was quick to walk away and present the conversation with a comfortable distance, as soon as Venkman (Bill Murray) resists, they are in each other’s faces fighting for dominance in the scene. The movement of Peck as he sits down to look Venkman eye to eye pits them on the same battlefield, then at the end of the argument, Venkman stands to become dominant and Peck quickly counters getting to eye level again. Again, neither of them are willing to back down.
In addition to the actual dialogue in the scene, actions that the actors take (for example, Venkman is slouching in his chair during the beginning of the conversation fidgeting with a paperweight) show their perspectives on the conversation. In addition, costume direction plays an important role. Venkman is sloppy, worn from working hard, slime covered. Peck is dressed in a nice suit with a power tie. Their hair is also the same polar opposite. Venkman’s is unkempt while Peck’s is neatly arranged. Without the dialogue, we immediately have a sense of the roles each character takes.
As far as shot composition and cinematography go, again the entire scene is lit very evenly and very brightly. The shots are setup to associate Venkman with chaos, clutter, and disorder (the desk in front of him is messy, behind him an empty potato chip bag and more of a mess). Peck is associated with straight lines and order (he is shot with the walls and the file cabinets behind him. Both are very heavy metaphors for their personality.
There is little foley to the scene and there is no music added.
Judging from the final edit, it appears that there were 12 setups. 3 of them included a pan and a tilt, 2 of them tilted up to follow the characters, 1 moving pan became a planned 2 shot of both characters. The editing seems to be a simple back and forth from character to character. Again, it seems to speed up and move to the tighter and closer shots as the tensions between the two characters grow. As both of them become familiar with each other, the audience becomes “closer” acquainted with the two of them. The pacing also mirrors this concept. It grows faster, with the lines being read quicker and the cuts getting more frequent toward the end of the scene. It builds the tension, deepening the argument between the two characters as they get further and further into it.
The scene seems to be from Venkman’s point of view. Obviously, since it begins casual and friendly we are led to believe that this was what Venkman was expecting from the encounter. Had the scene been from Peck’s point of view, I’m sure that it would have been less friendly and more confrontational from the start. Peck was there to stir up trouble and it took a while for Venkman to catch onto that. Then again, when the EPA comes knocking at your door, it normally just isn’t a friendly chit chat is it?
"All-female" and "Guy-centric" Ghostbusters. Chances are if you've thrown a rock at the internet lately, you've seen either of those terms in every headline you've come across. But both of those distinctions were given to the upcoming Ghostbusters sequel/reboot/remake/restarts by editorialized comments beginning at their points of origin.
So let's do something, shall we? Let's take a cue from another of Dan Akyroyd's characters that I adore and stick to just the facts... No anonymous sources, no "speculation," no snarky comments.
Here are the direct quotes from those involved without any editorializing:
October 8, 2014 c/o Paul Feig Twitter - Feig announces he is making a new film. Note, he says "will star hilarious women."
October 8, 2014 - c/o Entertainment Weekly - Feig elaborates on his Tweet directly to EW, in his own words.
"I had been contacted by Sony and Ivan a number of months ago when I was in Budapest shooting my new movie Spy. But I was like, I don’t know if I want to take that on because the first two are such classics and just because of how do you do it? Who do you bring in now that Harold’s gone? I know that Bill didn’t want to do it and I love Dan, but it was just like I don’t know how to do it. Then I had lunch with [Sony Pictures co-chairman] Amy Pascal when I got back to town. She was just saying, gosh, nobody wants to do this. I said, yeah, it’s really hard to take that on, especially since it’s 25 years later. how do you come back into a world that’s had these ghosts and all this? It just felt too difficult. How do you do it and not screw it up? But then it was bugging me for the next few days because Ghostbusters is such a great thing and everybody knows it, and it’s such a great world. It’s a shame to just let this thing sit there. I want to see another one. My favorite thing to do is work with funny women. I was like, what if it was an all female cast? If they were all women? Suddenly, my mind kind of exploded: that would be really fun. And then I thought, well, what if we just make it new? It’s not coming into the world that existed before. It’s always hard if the world has gone through this big ghost attack, how do you do it again? I wanted to come into our world where there’s talk of ghosts but they’re not really credible, and so what would happen in our world if this happened today?"
"We want to have fun with giving nods to what came before, but we don’t want to be bound by it because Katie and I already have talked at length and we have really fun ideas for things. But we want to tell the stories that we would like to tell, which means we want to tell the character arcs that we want to tell, which means we want to start with some of our characters in a different place or with different personalities and things they have to overcome and learn through the experience of this first movie. My number one thing is always about character and what is somebody learning from or transforming through whatever happens to them in the movie. So I think there will be definitely room to play with that. We want to do clever nods to it, but not cloying nods to it. We want to have the ability to really bring it into modern day."
"We have a very rough, rough outline that we’re working with, but definitely know the basic story, know what we want the basic characters to do, know what we want the world to do and what the rules of our world are, but nothing I want to discuss obviously. It’s cool. I think it’s a really strong origin story that feels real—as real as a ghost story is. It’s going to be really fun and real. We’ll make it scary and funny."
"Everything is up for grabs right now. I look at this the same way a superhero movie launches where it’s always fun to see, like, what are they going to do with the costumes this time? What are they going to do with the hardware this time? It’s not going to be, here is the exact same stuff. It’s also not going to go, screw you, if you like that stuff, it’s all completely different. We’re going to have fun with it, but again, bring it into our time period. I’m a big hardware nerd when it comes to sci-fi and all of that so I love all the gear and I love all that. We’re really going to have fun with playing with the science of it. I think fans will be very happy with what we do because it has fun with what came before but it’s new. It’s just a new, fun take on it."
"I just don’t understand why it’s ever an issue anymore. I’ve promoted both Bridesmaids and The Heat and myself and my cast are still hit constantly with the question, “will this answer the question of whether women can be funny?” I really cannot believe we’re still having this conversation. Some people accused it of kind of being a gimmick and it’s like, it would be a gimmick if I wasn’t somebody whose brain doesn’t automatically go to like, I want to just do more stuff with women. I just find funny women so great. For me it’s just more of a no-brainer. I just go, what would make me excited to do it? I go: four female Ghostbusters to me is really fun. I want to see that dynamic. I want to see that energy and that type of comedy and them going up against these ghosts and going up against human detractors and rivals and that kind of thing. When people accuse it of being a gimmick I go, why is a movie starring women considered a gimmick and a movie starring men is just a normal movie?"
"At the end of the day, all we want to make is a great movie and people are going to attach a lot of energy to either being nervous about this or being excited about it, and all Katie and I and the rest of the team, who we slowly assemble, can do is just make a great movie that’s super funny, that’s scary, that’s real, that has great characters that people identify with and want to see in these situations. It’s a world that they’ve experienced before in the old ones, but the hope is the minute they sit down they’ll go, “I love the old one, oh my god, I’m loving this new one.” Everything’s got to live on it’s own merits. It would be terrible if we just go, oh we’re just doing an update where we use the same dynamic and scripts. If we just flop four women into the exact same personalities and roles as original, then that’s lazy filmmaking on my behalf, and who wants to see that? I don’t want to do a shot by shot update of a movie that existed. It’s the difficult thing about remaking a great movie. So that’s why we’re not remaking a great movie. We’re doing our take on it."
January 15, 2015 - c/o Empire Magazine - Paul Feig talks directly to Empire. In his own words:
"It came out publically that we’re in talks with Melissa but there’s a lot to work out."
"There’s a lot of haters and I get it. The problem with the internet is that if 500 really angry men start bombarding me, I think, ‘Oh god, everybody hates this movie,’ but then you realise that it’s only 500 people. I don’t block anyone out or not read that stuff because I want to know what the most hardcore hater fan’s problem is."
"A lot of people ask why I didn’t create my own thing but Ghostbusters never ran out of steam, it’s such a great idea. It’s such a fun franchise so why not bring it to a new generation? The old movie is never going to not exist. It’s not my plan to erase every copy! Hopefully they can all live together."
"We’ve been working on laptops and passing flash drives back and forth. It’s very old school. We’re using paper, god forbid."
January 27, 2015 - c/o Paul Feig Twitter - Note, this is not an official announcement. It is not confirmation. It is a photo presented by Feig without anecdote.
January 27, 2015 - c/o Sony-run Sony Pictures Twitter. - Release date announced.
January 28, 2015 - c/o Dan Aykroyd direct statement to The Hollywood Reporter - Aykroyd's official press response toward any of the above. No specifics given.
"The Aykroyd family is delighted by this inheritance of the ‘Ghostbusters’ torch by these most magnificent women in comedy. My great grandfather, Dr. Sam Aykroyd, the original Ghostbuster, was a man who empowered women in his day, and this is a beautiful development in the legacy of our family business."
January 29, 2015 - c/o Ernie Hudson Twitter/Hollywood Reporter
"Four fiercely funny, foxy, females busting ghosts ... phenomenal!"
Hudson also retweeted a PR post referring to third-party rumors:
February 17, 2015 - c/o Howard Stern Show - Dan Aykroyd appears as guest. In his own words transcribed from radio interview.
"I'm very, very happy. I've got three daughters. I'm all for female empowerment. The thing needed to be stripped down. (Stumbles) As I've said take the Ecto car. Well the Ecto car now has a chassis and wheels, it needs new engine, it needs a new body. I wrote a version of it which we may end up shooting one time. It'll be different than the all-female. But I did write a Ghostbusters 3 and it exists as a script."
"Paul Feig's script is funny."
February 24, 2015 - c/o Variety - Tom Rothman is hired as new Sony Chairman of Motion Pictures, replacing Amy Pascal. He does not specifically talk Ghostbusters but comments on franchises being his priority. In Rothman's own words:
"Every studio needs franchises. That was the case when we took over at Fox and that took time to build it up and it will take time here. It’s very important but it’s equally important to have a diverse slate of films that perform profitably."
March 9, 2015 - c/o Deadline - New production company formed called Ghost Corps. Note, direct quotes from article only. Also note, original article was mysteriously revised and corrected without any explanation late in the day March 9, 2015. Note, casting and/or movie release plan not discussed. Ghost Corps' mission statement, in Ivan Reitman's own words:
"We want to expand the Ghostbusters universe in ways that will include different films, TV shows, merchandise, all things that are part of modern filmed entertainment. This is a branded entertainment, a scary supernatural premise mixed with comedy. Paul Feig’s film will be the first version of that, shooting in June to come out in July 2016. He’s got four of the funniest women in the world, and there will be other surprises to come. The second film has a wonderful idea that builds on that. Drew will start writing and the hope is to be ready for the Russo Brothers’ next window next summer to shoot, with the movie coming out the following year. It’s just the beginning of what I hope will be a lot of wonderful movies. My primary focus will be to build the Ghostbusters into the universe it always promised it might become. The original film is beloved, as is the cast, and we hope to create films we will continue to love."
"Sometimes things happen at the speed they are supposed to happen. The deals were so strong on that second movie that the franchise became frozen in place 25 years. Nothing got done, we all had the power to block whatever we didn’t like, but we finally got together and found a way.”
March 10, 2015 - c/o writer Drew Pearce's Twitter. Direct comments and responses from Pearce in his own words:
March 13, 2015 - c/o Variety - Paul Feig discusses the various films directly with Variety. In his words:
“The Internet is really funny – I love it, but I hate it at the same time. The first wave when you make an announcement like that is overwhelmingly positive. Everyone’s so happy and you’re like, This is great. Then comes the second wave and you’re like, Oh my God. Some of the most vile, misogynistic sh** I’ve ever seen in my life.”
“The biggest thing I’ve heard for the last four months is, ‘Thanks for ruining my childhood.’ It’s going to be on my tombstone when I die. It’s so dramatic. Honestly, the only way I could ruin your childhood is if I got into a time machine and went back and made you an orphan.”
ON GHOST CORPS ANNOUNCEMENT: “I’d heard some rumblings about it. All I know is my ladies are going to kick ass and I would not want to go into battle without them.”
March 14, 2015 - c/o Drew Pearce Twitter and East Grinstead Online
“There are a ton of different kind of jobs in screenwriting and directing out here – the two ends of the scale being ‘assignments’ (usually bigger movies with a pre-existing brand) and ‘specs’ (usually original ideas that you have to write speculatively, without knowing if someone will pay you for it at the end of the process). With some of the bigger movies I’ve worked on – the next Mission Impossible, and the new Ghostbusters movie I’ve just started – your role is part of a team – it’s not a very authored experience, and you know that from the get-go. Then I’ve also got smaller, original ideas like The Long Run, a movie I’m hoping to direct later this year at Fox. Plus I secretly work as a script doctor on occasion, as favours to other filmmakers. That’s basically my job in a nutshell.”
“I’m actually writing a new take, which will star Channing Tatum and Chris Pratt, both of whom are brilliant and very nice chaps to boot. It’s a different kind of story, set in the same universe as the other movies, but following an entirely new group of Ghostbusters.”
MARCH 16, 2015 - c/o reuters AND INDIEWIRE AND COMICBOOK.COM - paul feig comments from sxsw festival at spy premiere. in his words:
"It's a giant franchise and it's a big world. I completely understand wanting to create this whole (franchise) just like 'Star Wars' has. But for me, all I can concentrate on is my ladies and how much we're going to kick ass."
RE: Bill Murray's Possible Involvement in His Film: "We are ready for him. If Bill will show up, Bill is more than welcome. Nothing would make us happier."
"There were plenty of angry tweets to me that thought I did. It was purely a creative decision. I'd been contacted starting last year when I was in production on 'Spy.' I was getting calls from Sony, Ivan Reitman called, they wanted to do a sequel and I was so flattered because I love the franchise so much and wanted it to come back. I just couldn't figure out how to do a sequel 25 years later where two of the original cast members weren't even going to be in it. I'd read the original scripts that had been written to try and do it -- some of my favorite comedy writers wrote those scripts, and they were really good scripts -- but something felt off. The math was off.
So I kept saying no and then finally had lunch with Amy Pascal and she was just like, 'Why doesn't anybody want to do this movie? None of you comedy directors want to do this!' I went on this whole thing, this is a sacred cow, this thing we all grew up with and thought, 'I don't know how to do it.' But there's this great franchise sitting there, this great idea of funny people battling the paranormal. That's an awesome canvas to paint on. So I thought, if I had to do it, what would I do? The most obvious things are the last things you think about. And I thought, if I made them all women, then I know how to do that. I get excited about that. I can see the comedy and the fun in that. But are they their daughters? What's their thing? I want to see them develop the technology and I want to see the world confront ghosts for the first time and I thought, 'Let's just reboot it.'It was as simple as that. It was no more evil than that and there was all this feeling of this evil plotting, I've had things come at me like 'We're so tired of this PC bullshit.' This isn't PC! There's all these funny women; I'm trying to figure out how to get more women's ensembles together and get more of these people working and here it is. That's it."
"Jesus, there's so much. Just put in my address and look at the things that are addressed to me any day. The worst of it was always 'Women can't be 'Ghostbusters'!' This flat statement of 'this can't happen.' I always try to find the germ of logic and, look, for a lot of guys -- I was in my early 20s when I first saw it and I thought it was groundbreaking comedy -- who saw it when they were seven, eight, nine, they kind of grew up playing it so I think to them it's much more a way of life, like a religion."
"No comment on that [laughs]. It does become a bit of a religion for people, like 'Star Wars.' All of our favorite movies are religious icons to us, I try to be sensitive to that and so, guys, I get that but I'm not going to destroy those first two movies. I can't. I almost feel like it would possibly hurt them more if I did it as a direct sequel because it would almost back-poison the well. If you don't like what I end up doing, you can say, 'Well that was the new one. Fuck that. We have these other ones.' You can only do what inspires you and what you think will be fun and what you know how to do for an audience to make them laugh and have a good time. My intentions are nothing but pure."
"We start shooting June 15 so we're still punching up the script, doing heavy prep of designing all our effects and our ghosts and nailing down what we're going to shoot. It's fast approaching."
"I love the original ones so I want to do enough nods to it that the fans go 'Oh, okay they're aware of it! That's fun that they're twisting this and that!' But I also want to make it so that a new generation can make it their own too. We'll make references but blow past them and go toward our own thing; I want to keep the same tone and style but I want it to be even scarier just because I think with the way we can do stuff now, we can really have fun with making it creepier. Comedy and scares go really well together. The original was very scary and if you look at it now, you still have that, but there's a chance to go even further with it."
ON USING RAY PARKER JR.'S ORIGINAL THEME: "We have ways to bring it in that we're playing with, so we'll see. It's such an iconic thing that part of you goes, 'I don't want to change it,' but then another part of you wants to update it. It's one of the biggest questions we're faced with.""
Will continue to update with direct quotes and statements as they're made...
Update 1: 3/11/15 3:27pm - Corrected Tom Rothman title and Amy Pascal spelling. / Added Howard Stern quotes from Dan Aykroyd. / 6:40pm - Added Ernie Hudson response from 1/29/15
Update 2: 3/13/15 1:00pm - Added Paul Feig comments to Variety at SXSW
Update 3: 3/14/15 10:51am - Added additional Drew Pearce comments.