“That would have worked…”
Posted on February 17, 2008
It’s funny how it can sometimes take 25 years and a lifetime of reading to finally put two and two together regarding something about Ghostbusters, but here we are.
The thought, my thought, in question is at the very beginning of the film when Peter teases Egon;
“This reminds me of the time you tried to drill a hole in your head.”
To which a stern, mildly annoyed Egon insists it would have worked had Venkman not interfered. And there is - what would have worked? What was Egon up to?
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EGB commercial
Posted on January 25, 2007
In transfering the Leo Zahn interview from the old system to the new system (he directed an Extreme Ghostbusters toy commercial) I discovered it needed some cleaning up - old pictures no longer existed, etc. And in the process, I found this;
It was so keen, I thought I’d dig it up for the front page. Enjoy!
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Interview: Leo Zahn
Posted on July 19, 1999
Leo Zahn, like many of the people I’ve been lucky enough to interview, has a very cool job. Leo directs commercials. Specifically, Leo, through his California based company Picture Palace, directed a commercial for Trendmasters. The product was Trendmasters line of Extreme Ghostbusters toys.
Busy as he is, Leo took a moment to answer a few questions for Proton Charging.
PC: First some background. When was the commercial shot and about how long did it take?
SH: The Ghostbusters spot was shot in May/June 1997 in St. Louis. Trendmasters holds the license for the toy line of Extreme Ghostbusters. I shoot quite a bit for them. They are one of the largest toy companies in the U.S. (”Independence Day” ” Godzilla” etc). Usually, a 30 sec spot is shot in 2 days.
PC: I’ve always wondered; what are commercials shot on? I’m guessing they’re not all on film.
LZ: All [my] spots are shot on 35mm film.
PC: How did you get involved with doing the Extreme Ghostbusters ad? What did you know about Ghostbusters going into the shoot?
LZ: I knew a lot about Ghostbusters, having been a fan of both movies. I was not aware of the animated TV show. I feel in love with the design of the toy figures, and especially the design and look of the car.
PC: What’s the trick to selling Extreme Ghostbusters to kids? Was there a particular angle that Trendmasters was trying to get across? Suits on the set trying to explain their vision for the product?
LZ: The beauty of working for Trendmasters is the fact that they welcome a director’s input, and there are no “suits” on the set. Their product managers are very creative people with good ideas, who act as creative directors on the set. [There was] no ad agency involved.
PC: When you were shooting the EGB commercial were you using production toys or prototypes? Did you have any trouble with the product?
LZ: We shot mostly with production product. There were problems.
PC: Ah ha. Your company site separates the commercials for girl toys from the commercials for toys for boys. What’s the trick to selling toys to boys using a commercial spot on TV?
LZ: Boys to spots are usually aggressive, battle oriented spots. There is constant attack and destruction. As a director, you need to be sble to maximize the impact, while staying within the Federal guidelines for toy advertising.
PC: How do you think the commercial turned out? If you could have done anything different,would you? Or would you leave it as is?
LZ: I’m very pleased with it, and it’s on my boys toy reel.
J. Michael Straczynski on RGB
Posted on May 11, 1999
Ever heard of J. Michael Straczynski? Well, if you haven’t you should have. Straczynski, (JMS to his fans) has a long history as a writer for print and TV. His CV includes work on the Twilight Zone (syndicated TV series), Captain Power (that toy oriented Saturday morning show), Jake and the Fatman (a little beyond some of the younger PC readers I’d imagine), and Murder, She Wrote. Somewhere in there he found time to create some show called Babylon 5. His many short stories, one anthology, and two fantasy/horror novels have garnered him nominations for Writers Guild, Bram Stoker, Ace and Gemini Awards, the Inkpot Achievement Award from the San Diego Comic Convention and an Emmy for Best Animated Series.
That series (and this is why you should have recognized the name) was The Real Ghostbusters. JMS worked as writer and story editor for RGB during the first network season and some of the subsequent syndicated seasons, before quiting the show after the suits “knocked all the edges off the show”.
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Ghostbusters RPG: Checklist
Posted on March 6, 1999
I had many a fun weekend in school playing the Ghostbusters Role Playing Game. It was simple, it
could be taught to anyone in minutes, and of course, it was Ghostbusters. So it was automatically
fun.
Sadly, West End Games went under last year, so should another movie ever get made, it
remains to be seen if anyone will produce more materials for the game.
The GB RPG is a great item for both Ghostbusters collectors and role-playing fans. Game on!
GHOSTBUSTERS (first edition)
TYPE: Box Set
INCLUDES: A Training Manual for players, an Operations Manual for Ghostmasters,
4 handouts (sample business forms, a 3-page basic rules sheet, one franchise document,
and a last will and testament), 5 regular dice, The Ghost Die, 48 small equipment cards,
and 12 character cards (6 Ghostbusters and 6 blanks).
A really simple game to pick up, this box set also came with a handful of small
adventures for players to try.
GHOST TOASTIES
AUTHOR/EDITOR: Scott Haring
TYPE: Adventure
INCLUDES: The cover is actually a Ghostmaster screen with tables, and info, and
ghost categories.
Ghosts have taken over the cereal isle at the super market. As you can tell, the
Ghostbusters Role Playing Game isn’t a Dungeons and Dragons, dark kind of game.
HOT RODS OF THE GODS
AUTHOR/EDITOR: Daniel Greenberg
TYPE: Adventure
INCLUDES: The cover doubles as a screen and map of New York for the crazy flying car
race that takes place during the game. There are also little car markers, so it’s kind
of like GB meets Car Wars.
Ghosts have taken over the cereal isle at the super market. As you can tell, the
Ghostbusters Role Playing Game isn’t a Dungeons and Dragons, dark kind of game.
SCARED STIFFS
AUTHOR/EDITOR: John M. Ford and Bill Slavicsek
TYPE: Adventure
The Ghostbusters are out to protect the ghosts at a haunted ski-lodge from another
paranormal investigations and eliminations business. This adventure has cameo appearances
by the movie Ghostbusters and Louis Tully.
GHOSTBUSTERS INTERNATIONAL (revised edition rules)
TYPE: Boxed Set
INCLUDES: A Training Manual for players, an Operations Manual for Ghostmasters,
reprints of most of the documents from the first box set, 5 regular dice, and
The Ghost Die.
The second edition of the game is very much like the first. The rules are cleaned up
somewhat and some rules are added so that players can have magic powers (making it ideal
for anyone wanting to play along the lines of the two cartoon series).
NOTE: You don’t need the first edition to play the second edition, and the first edition
adventure companions can be used just fine with the second edition.
GHOSTBUSTERS II: THE ADVENTURE
AUTHOR/EDITOR: C.G. Tramontana
TYPE: Adventure
INCLUDES: The cover is another Ghostmaster screen with the basics of the revised rules on it.
An odd little adventure in that you play not the Ghostbusters from the movie, but a new
franchise that operates nearby. The idea is that around the montage scene in the second
movie, which shows the boys being successful again, now franchises are opened. As one of
these new bustin businesses, the players are sent on slime related calls. Somehow, they’re
climactic finish to the game is linked to and partially responsible for the success of the
climactic finish in the second movie. Like I said, odd.
APOKERMIS NOW!
AUTHOR/EDITOR: Bill Slavicsek with Paul Balsamo
TYPE: Adventure
It’s the end of the world, again, and it’s up to the Ghostbusters to set things right.
The only thing stopped them is thousands of years of gods, deities, evil spirits, and
ancient magic. Have fun.
PUMPKIN PATCH PANIC
AUTHOR/EDITOR: Grant Boucher
TYPE: Adventure
Charlie Brown and the Great Pumpkin references abound in this Halloween
adventure. Actually it’s a lot like The Great Pumpkin. Only everything is out
to get the Ghostbusters. Which is typical.
LURID TALES OF DOOM!
AUTHOR/EDITOR: Jonatha Ariadne Caspian
TYPE: Adventure
What’s the number one thing the Ghostbusters are always on the look-out for? No, ghosts is
in fact the number two thing. The number one thing is MONEY, and the busters are planning
to get it by acting as consultants for a sleazy, supermarket tabloid. Who knew that they
aliens, ghosts, demons, and mutants that they report on actually exist?
TOBIN’S SPIRIT GUIDE
AUTHOR/EDITOR: Kim Mohan
TYPE: Supplement
I always hoped that there would also be a Spate’s Catalog, but one was never made. But
at least there was Tobin’s. Tobin’s is basically a collection of ghosts, with their
powers and skills laid out, for use in Ghostmaster made adventures. The whole thing
was presented as if it were a book that was a hundred years old.
Ghostbusters RPG: Part one
Posted on February 14, 1999
Making Character and understanding game basics
Out of the thousands of role-playing games produced since the invention of the 12-sided dice, there is a little gem of a game that all Ghostbusters fans everywhere should enjoy. Ghostbusters: A Frightfully Cheerful Role-playing Game.
Sadly, the Ghostbusters RPG is no longer being produced and even sadder is the fact that West End Games (an 80s giant in the world of RPGs) went out of business in 1998. However, the makers of the game left behind a funny and simple game system and with luck, beginners to the system can learn enough of the basics here to start making and playing their own episodes. Treat this as an introduction, a chance to evaluate the game, and should you happen to like it enough, you should definitely consider looking around town to find old copies of the game. There are plenty of copies out there; you just need to look.
Before we get started, it should be said that if you’ve been turned off of RPGs before because they’re too complex, you don’t have to worry here. Ghostbusters is a snap. It is arguably the simplest RPG ever.
But explaining it is tough, so in part one will we only cover game basics and making characters.
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Interview: Fil Barlow
Posted on November 29, 1998
Fil Barlow has a job that most people would die for. He draws. A lot. And he might be Australian. With a huge background in both print comics and animation, Fil has his name attached to shows like the Alf animated series and C.O.P.S.. Currently he’s working on the Godzilla animated series. But of more importance the the average Ghostbusters fan, Fil worked on both The Real Ghostbusters and Extreme Ghostbusters. Proton Charging was fortunate enough to have the chance to ask Fil some questions and even more fortunate that he took time out from his work on Godzilla to answer.
PC: Besides yourself, who are the other creative brains behind RGB and EGB?
FB: You’ll notice that I mention Richard Raynis. He was the driving force behind the quality of RGB and XGB. An artist himself he strives for an almost unbearable level of quality and excellence in all of the shows he produces.
Along with Sander Schwartz, Richard began the animation division of Columbia-Tristar, and I was on the phone in Australia cheering Richard into the venture. The people largely responsible for the style of the ghost and character designs on the first season of RGB were Gary Payne and Everett Peck.
On XGB the show was my style and to keep a level of consistency between RGB and XGB, Richard had Everett put in rough designs for the ghosts on the show. Richard would choose between my offerings or Everett’s and sometimes a combination would emerge.
There were times when Richard, upon my urging, would pick up a pencil and we’d draw monsters together trying to find the creepiest design. Sometimes his designs were so fun that I just traced his and put it in the show (the mirror demon and the mean version of Achira are Richard designs, although I did the bodies on them).
PC: Everybody getting this so far? Your bio page says that you worked on “Ghostbusters” as well as Extreme Ghostbusters. I’m assuming that’s The Real Ghostbusters? What’d you do?
FB: Yes it was Real Ghostbusters, and I didn’t do much. At the time I was designing characters for Alf, Real Ghostbusters was in its second season, it had fallen into difficulties and I was asked to come in and help with the design of Grundel by Richard Raynis who was rescuing the show. I designed the Grundel and another ghost which I’ve forgotten. The artwork was stolen the day I did it, but luckily I had photocopied Grundel because I liked what I had done. Another artist reinterpreted my design, it’s close but I’ve never liked it (I must admit I was insulted as there was nothing wrong with my design). So I kept the photocopies for 11 years, had them back in Australia with me. When I came out to work on XGB I brought the photocopies with me - just in case the character came up again. For some reason he did, I included the original designs of Grundel into his model pack, and they still held up after a decade. The cycle was complete and my revenge was subtle but sweet. The balance of the universe had been maintained.
PC: According to the bio page, you worked on the character designs and the opening sequence for Extreme Ghostbusters. I love the opening titles!
FB: Richard Raynis always directs the main titles for the animations done at Columbia-Tristar. I storyboarded all of the monster sequences, Tim Eldred boarded the rest. Richard always knows what he wants, my job is to get it down on paper.
The monster train design I did was a homage to Everett Peck’s wackier ghost designs on RGB. Richard wanted inserts of old Everett ghosts from the original series (Pumpkin head and the Flasher ghost) that I redrew in the XGB style. The Ghostcloud and goblin were all my design.
PC: Slimer in EGB rocks. He’s less blobby, more of a creature in EGB. Do fans have you to thank for that?
FB: Yes shucks, it was me. I must admit I never really liked the character or design of the first animated Slimer. I wanted to make him look more ghoulish and grotesque (in fact I wanted all of the XGB team too look that way - I wanted Eduardo to scare the ghosts).
PC: How did you approach established characters when updating them?
FB: I was trying for a simpler more sculptural look to the main characters, because the RGB character designs were undefined for me, open to interpretation by the animators, which can lead to trouble. I had theories on animating realistic characters I needed to get off my chest since RGB and C.O.P.S.. I had to test my theories out and see if they worked or not. Now with the Godzilla series I’ve designed a very realistic style and to my surprise the animators are getting it right.
PC: How about the other three original Ghostbusters?
FB: I had designs for them prepared, I’m a bit vague about what happened as I was juggling designs from so many shows at once, but they were pulled back by the director and I think I left it up to Thomas Perkins (my second in command) to finish them off.
PC: Some fans describe RGB as having a Japanese flavour and EGB as having a French/European flavour. What’s your take on the matter?
FB: I had no plan to make it this or that. I had 12 hours to draw the artwork that was finally used to pitch the show and I just wanted to do something with a simple, graphic style, easy to animate. I can’t see the Japanese in RGB myself, don’t forget it was animated in Japan so that maybe what the fans are picking up on.
The style of XGB is it’s own style, and Richard wanted something that was different to anything on television at the time. I knew the backgrounds would be detailed to hell so I wanted to contrast it with an open character design and then put all of the detail into the ghosts which were the feature of each episode.
PC: What’s good about the shows?
FB: That the Grundel design survived (heee, heee hee - that’s a last laugh).
The Golem was really well animated and I had to go through a long struggle to get that design in. A whole other design had been proposed by Everett Peck and Richard but it was so lacklustre, finally they saw the light and went with my original creepy design, the body had alot of Everett left in it.
PC: What are you most proud of, what’s your favorite accomplishment from either project?
FB: What I’m most proud of is that we finished the series at all. 40 episode shows are gruelling things to work on and with the studio being so young it was broken in half to take on other shows (MIB for example). The overworked production crew that remained unfortunately fled the studio, eventually replacements were found. The whole experience was tough for everyone but we did it. I’m amazed and happy that you guys are enjoying the results.
PC: EGB seems to have stalled. Is there going to be a second season?
FB: We were only meant to do 40 episodes. I haven’t heard of another season being considered. The property is owned by Columbia-Tristar so you never know what they might decide to do. Maybe in ten years from now I’ll be working on it again.
PC: Was there anything that was sketched up, but never got used? Wacky vehicles? Other cameos by old characters?
FB: When designing on any series alot of stuff is rejected or just never used. I have lots of drawings of ghost designs that never made it. It happens all the time.
I had a whole other direction I proposed to Richard when I began designing for the series in Australia. I wanted to make Egon a warlock type character (long hair, goatee, robes and a staff), spending much of his time trying to settle a treaty between the ghosts, humans and the demons. My original line up of the main characters had a demon in it. I had Egon as a sort of politician speaking on behalf of the humans at Ghost Councils. This direction was seen as too complicated and difficult to manage as the series would have to be handled by many writers.
PC: Were you a fan of Ghostbusters when you started on these projects?
FB: I liked the first movie, it was fun, but I’m not a fan. I had no great love for RGB.
PC: What’s your take on the whole idea of paranormal exterminators?
FB: I’m not sure I should answer this question due to the “nuttiness” most of the population put on the so-called unknown. I’m hoping your people might be reasonably receptive to my experiences.
I have had two personal experiences of hauntings. Along with my girlfriend and our best friend, we “removed” the “ghosts” from two houses in Australia. We used to call ourselves ghostbusters as a joke. The reality of our experiences were far removed from the hollywoodisation of the subject. The “ghosts” we experienced were just humans and they had got themselves trapped for decades because of their fear of the next step (the other side). All we did was join our wills with the helpers on the other side (they pulled we pushed) and with alot of love and concern, helped the human souls overcome their fears and move into the light. The way I see it, these souls are like somebody hurting in the gutter. I’ll always do my best to help another human who has trapped themselves.
My experiences are contrary to movies and the Ghostbuster franchise. As I understand it, love and concern for another human soul is the only way to move a “ghost” on. Trapping them is a horrible idea to me, as they are already trapped, freeing them is the best option. As I see it life never dies, so it would be possible to ‘exterminate’ a ghost. The trapped souls we found weren’t dead, they were very much alive and scared.
PC: What makes Ghostbusters so enduring that they can keep making movies, and cartoons, and toys, year after year?
FB: Ghosts! People like to be scared, kids like monsters and ugly things. Fear sells too. Plus Ghostbusters is a franchise as long as a company owns it they’d be silly not to produce something to sell.
PC: Has there been any talk about releasing EGB, any EGB on video?
FB: I really don’t know, I would be surprised if they didn’t (franchise).
PC: As the brain behind the character designs on EGB were you involved in the production of the toys? Did Trendmasters send you any freebies? What did you make of them anyhow?
FB: I was too busy designing the show to work on the toy designs which were handled by other artists. To me the toys were crappy, no freebies for me and I wouldn’t want them anyway. Burger King did a better set that I wouldn’t have minded getting. They actually followed the character designs, which I was pleased to see.
PC: What does the future hold for you and your cohorts?
FB: Godzilla, and we are moving into our new season, I don’t know what I’m allowed to mention about these new shows but you’ll see next year. Nothing ghost related as yet, just mutated animals, giant robots and insects.
PC: One last question. EGB or XGB? Speak, and settle the debate!
FB: In production we always referred to it as XGB so that is how we know it. EGB is grammatically accurate, but I’ve never been one for grammatical accuracy.
For the record, the editor of Proton Charging likes to pretend he strives for grammatical accuracy and will continue to use “EGB”. Good luck to Fil on his current and future projects (even if there aren’t any ghosts).
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Interview: Alita Holly
Posted on November 11, 1998
As you might have heard, there’s been word that Columbia would be releasing a special edition of Ghostbusters on DVD. Well it’s all true. Proton Charging had the opportunity to talk to A.H., producer for the project, and huge Harold Ramis fan. The paraphrased conversation is as follows:
PC: When? WHEN!?
AH: There’s no official street date yet, but at the moment Columbia is aiming for summer 1999.
PC: Is this to coincide with a theatrical re-release of Ghostbusters into theaters?
AH: I’ve heard the same rumours as you, but I can only comment on the DVD.
PC: What can fans expect from the DVD edition?
AH: It will be in widescreen format from a remastered print with remastered sound. We’ve got access to a lot of material, like storyboards and conceptual art. We also have a lot of extra footage. With DVD, we have the opportunity to do some creative stuff with all the “making of” materials that is out there. It might take you a long time to get through the whole thing, but there won’t be much having to do with Ghostbusters that isn’t on this special edition.
PC: Trailers? How about the Ray Parker Jr. video?
AH: We’re looking into getting the rights. We’ve also been interviewing the filmmakers about the movie. We’re making it a point to work very closely with the the filmmakers. I have already met with Ivan Reitman and his team, as well as with Richard Edlund [visual effects creator] and they each gave me boxes of materials used in the making of the film.
PC: Harold Ramis?
AH: He is such a nice guy! I was talking to him about sitting a bunch of the cast and crew down together to record them watching the film for the first time in 15 years and he said “try 15 minutes.” His kids have just discovered the movie, and they love it.
PC: So this is a 15th anniversary kind of deal?
AH: We want to make a DVD that will be accessible to the kids who will be discovering the movie for the first time, but still make a DVD that will make the hardcore fans drool.
PC: Any of the cool stuff you can talk about?
AH: I do have some special surprises for those of you who thought you had seen and heard everything, but you’ll have to wait until summer.
PC: It wouldn’t be as exciting without some mystery. I think it’s time for me to get a DVD player!
AH: Yep, time for all Ghostbuster fans to start saving up for that DVD player, ’cause what we’re doing on this DVD just won’t transfer over to VHS.
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Interview: Jean-Marc Lofficier
Posted on October 9, 1998
After running into his webpage quite by accident, PC approached Jean-Marc Lofficier for an interview. Jean-Marc responded almost immediately (which leads me to suspect he’s in front of his computer a lot) and agreed.
Jean-Marc and Randy Lofficier have an interesting Ghostbusters pedigree. First Randy wrote what appears to be the very first article ever written about Ghostbusters for the June 1984 edition of American Cinematographer (parts of that article and the interviews that she conducted to write it later appeared in other magazines, namely Enterprise Incidents, England’s Starburst and France’s L’Ecran Fantastique (roughly translated as The Fantastic Screen). Later on Jean-Marc and his wife Randy (both are pictured to the left) wrote two episodes of The Real Ghostbusters, “The Headless Motorcyclist” and the very cool “The Ghostbusters in Paris”.
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Interview: Slavitza Jovan
Posted on August 27, 1998
It’s quite a journey from being a little girl in Yugoslavia to model in Europe and actress in the US, but that’s Slavitza Jovan’s life in a nutshell. After moving to the US, Slavitza (pronounced, if I’ve got this right, slah-vits-ya) found herself cast in what remains to this day the largest grossing comedy of all time.
Sure, she was cast as an evil god and the film’s maker thought her accent was funny, but her role of Gozer is now part of movie history as one of the most memorable of movie villains.
As it turns out, she’s fairly shy and reserved (something she admits herself) and nothing like the menace she’d played on screen. Proton Charging was recently able to ask her some questions about her time on the set of Ghostbusters.
PC: So, tell us a little bit about yourself.
SJ: Let’s keep it a mystery. And perhaps someday, if I manage to be an old woman with a development of my spiritual strength, it would be nice to talk about myself in a book.
PC: You were working as a model when you did Ghostbusters. How did you get the role of Gozer? What does it take to get cast as an evil god?
SJ: Starting from Europe to Los Angeles, I did both modeling and acting from a fairly young age. I got the role simply by going to an interview with my modeling agent. I have hard time relating to being an evil god, as it is not a part of my nature. But as they cast me to play Gozer, it must have been based on my outside looks, with my angular face, slim, tall, and such - but this look could be also used to play a Saint like Joan of Arc or someone similar to that.
PC: How long did the shooting of your part take?
SJ: There was approximately 3 weeks worth of shooting.
PC: Originally the part of Gozer was written with Paul Rubens (Pee Wee Herman) in mind, which would have been odd. Obviously Gozer underwent some changes. How did Ivan Reitman and them [Harold Ramis and Dan Aykroyd] describe the character to you?
SJ: I used a lot of my own imagination. The rest was just listening to stage directions.
PC: What did you make of the Character Gozer? What was your personal take on how to play such a powerful creature?
SJ: I took it as pure fantasy. On a human level, we all have weaknesses and strengths. But the power comes from our Creator. If I can comprehend it, with my human limitations.
PC: I’ve read that the set was pretty impressive, but very hot. Since you did all of your shooting there, what can you tell us about shooting on that set?
SJ: The set was impressive. I was told that it was one of the most incredible sets built up to that time. The set was hot simply due to the fact that there were so many lights. My costume was also very tight to my body [and uncomfortable].
PC: I’ve also read that the guys were rather mischievous on set, cracking jokes and so on. What were your impressions of them? They apparently teased Sigourney Weaver a lot. Did you get any teasing?
SJ: I was very shy, as I’ve always been. Perhaps less so now. So, I wasn’t too open to anyone in particular. But occasionally, when I was around, they would tease me as they passed by. They would say [things like] “What a dangerous woman”.
PC: Your part was either jumping around in a wire set-up or pretending to shoot electricity from your hands. With all that special effects stuff, was it a tough part to play?
SJ: I would have to stretch my imagination into some other dimension. I would had to do some of the stunts myself, being high up on the stairs. I also couldn’t see anything through the red contact lenses. I had to be lifted up in the air, so of course I was a bit uncomfortable and scared.
PC: Yeah, the contacts. You had some wild make-up happening, with the hair and the bronze skin tone, and the sinister eyes. How was it?
SJ: Very uncomfortable. I could only wear the contact lenses for 20 minutes at a time. The doctor was there to give a rest to my eyes. I had to take 45 minute breaks. The hair and make-up took a long time to do. It was very uncomfortable and sticky.
PC: A better question might be, with all that make-up were you able to keep some anonymity, some personal privacy or do you get recognized by people on the street in spite of it?
SJ: As long as I had my hair short, I would get recognized by people on the street and the paparazzi.
PC: What was the best part about working on Ghostbusters?
SJ: It was nice to be spoiled and work on a high budget film where everything is organized.
PC: So what was the worst part?
SJ: Having to get up so early in the morning, usually by 4am, and have the crew put the makeup on while I was half-asleep. Long hours.
PC: Were you surprised at the movie’s popularity back when it first came out?
SJ: I was a bit surprised that it was as popular as it was.
PC: I just have to ask; do you believe in ghosts?
SJ: More likely, I believe in demons.
PC: Where can Ghostbusters fans watch for you in the future?
SJ: I have an upcoming film entitled House on Haunted Hill, a remake of the original version, which should be out in theaters soon. I was also recently in an independent feature called Stir which you can rent at most Blockbuster video stores.
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