Well, you could believe Mr. Pecker. My name is Peck.
Or you could accept the fact that this city is headed for a disaster of
biblical proportion. What do you mean biblical? What he means is Old
Testament, Mr. Mayor. Real wrath of God type stuff. Exactly. Fire and brimstone
coming down from the skies. Rivers and seas boiling. 40 years of darkness.
Earthquakes, volcanoes. The dead rising from the grave. Human sacrifice.
Dogs and cats living together. Mass hysteria. Enough!
I get the point.
What if you're wrong? If I'm wrong, nothing happens. We go to
jail peacefully, quietly. We'll enjoy it. But if I'm right
and we can stop this thing,
Lenny, you will have
saved the lives of millions of
registered voters.
I don't believe you're seriously considering listening to these men.
Get him out of here. Bye.
I'll fix you, Venkman. I'm gonna fix you. I'm gonna get you a nice fruit
basket. I'm gonna miss him. We got work
to do. Now, what do you need from me?
It's Two Dads, One Movie. It's the podcast where two middle-aged dads
sit around and shoot the shit about the movies of the '80s and '90s.
Here are your hosts, Steve Follow and Nick Briana.
Hello everybody, welcome to another episode of Two Dads, One Movie.
I'm Steve. And I'm Nick. And today we are talking about the 1984 comedy,
fantasy, maybe sci-fi-ish. I'm not really sure,
I think, but like absolute blockbuster classic. You know it, I know it, Nick knows
it, everybody knows it and loves it. Ghostbusters. Love this movie. Cannot wait to
talk about this movie. This was my pick for our Two Dads, Two Decades run
for 1984. Yeah. And I just, just to get into it, like I
kind of mentioned at the end of last week's episode, like this for a long
time of my life, this was my favorite movie of all time.
I have watched this movie. I'm not exaggerating. It has been— I have seen it
well over 100 times. There were points in my life where I was watching this
movie on a weekly basis through high school into college,
you know, even before that to some extent. But yeah, there were— I love this
movie. I love Ghostbusters 2 as well. A lot of people who loved Ghostbusters were
not fans of the sequel. I love them both. I have not seen the more
recent ones, the Paul Rudd stuff and whatever. I haven't seen any of that.
I don't know if it's good or not, but like these two original Ghostbusters movies,
um, I'm just— original cast. Yeah, the original cast, the original time frame,
all the '80s, you know, this kind of thing. Absolutely adore these movies. Cannot wait
to get into this, uh, with you, Nick. So what's your experience and kind of
history with Ghostbusters? Yeah, so I definitely saw this when I was younger,
but as a no VCR, no cable guy, I didn't
see it for a long time after this. So I liked it, but I wasn't
like really into it, into it. Um, and I think probably rediscovered
it around high school when we're passing tapes around and quoting stuff back and forth
and everything. Yeah. Uh, and watched it a handful of times. So I've seen it
over the years a bunch, but I always had a fondness for the movie.
Yeah. And I mean, it's pretty bulletproof as far as the cast
and like just everything involved. Yeah. So, uh, really looking forward to talking about this
one. Yeah. This is one that we had in my house. We had a LaserDisc
player. I've mentioned it a few times before, before we even had VCRs in the
house. And this was definitely a LaserDisc that we had. Yeah. So like, I mean,
I think I probably was taken to the theater to see this. PG, would've been
4 years old. I would, same year I saw Gremlins. So it's like not that
crazy. And you know, if not in the theater, would've been shortly after my dad
would've gotten the LaserDisc. And that's when I started watching it constantly. 'Cause you know,
there's definitely scary elements, but it is a pretty solid PG. This probably would've
been a, this could've been a PG-13 depending on how it played out
time-wise. I don't remember exactly when the first PG-13 movie was
released, but like this would've been on the borderline just because of the sort of
visual. It's a harder PG than our previous movie, Strange Brew. Fair, for sure.
Yeah, exactly. But yeah, like I said, hundreds of times, can't, you know,
I, like I mentioned at the last end of last episode, I still have the
autographed photo of Ramis, Aykroyd, and Murray in their Ghostbusters outfits
autographed hanging on my wall. So that's so awesome. Big, big, big fan.
All right. Let's jump into the facts on Ghostbusters. There's a lot of good,
there's a lot of good stuff in here. All right. The movie Ghostbusters was released
on June 8th, 1984 with a PG rating and a running time of 105
minutes. It was directed by Ivan Reitman. Written by Dan Aykroyd and
Harold Ramis and starring Bill Murray, Dan Aykroyd, and Sigourney Weaver.
Scores, really high scores, a 95% fresh
score on Rotten Tomatoes. So critics with almost nothing bad to say about it.
This is the— that would make it the 4th highest Rotten Tomatoes score we've seen
on our podcast. Airplane earned a 97. Both The Fugitive
and This Is Spinal Tap got 96. Okay. So right up there with them is
Ghostbusters. On IMDb, a 7.8, very respectable score. Really strong.
When you get up over 8.0, you're in the top 100 total movies
movies at all on IMDb at that point, pretty much. So, so very high score
for Ghostbusters. And the, the, uh, critics Siskel and Ebert, a pair of
thumbs ups. Thank you, boys. On the awards tip, um, lots of
nominations. One pretty significant win to mention, uh, at the 1985 Saturn
Awards, did win Best Fantasy Film. Okay. And then a series of like high-profile
nominations but not wins. Uh, two nominations at the 1985
Academy Awards, uh, for Best Song for the Ghostbusters theme song
for Ray Parker Jr. and for Best Visual Effects. Didn't win either of those.
And at the Golden Globes, a bunch of nominations actually for Best Comedy
Picture. Bill Murray was nominated for Best Lead Actor in a Comedy,
and Ray Parker Jr. also got nominated for Best Original Song. And then the
Grammys actually nominated the Best Original Score Album,
uh, this score, this album here. On a budget of $30 million,
which, man, 1984, big budget, big, big budget. Although it shows up on the screen,
some of these effects still look real good. We'll get into the details, but very
smart with how they did really great stuff. And so, um, $30 million budget pulled
in $296 million at the box office in
1984. Uh, that is just shy of 10 times what it cost to
make. So crazy, a massive blockbuster hit. And we got a little kind of
extra fact on this one. I want to throw this in there. So in 1984,
Huey Lewis sued Ray Parker Jr., claiming that the Ghostbusters theme
song plagiarized the Huey Lewis and the News song I Want a New Drug,
which was released the year before. And if you listen to I Want a New
Drug, it's pretty unmistakable. Like, the melody and the bass line are like basically
exactly note for note. Yeah, between the two songs, very close. Who you gonna call,
your drug dealer? Right. They settled out of court almost
10 years later in 1995. They finally settled it. The settlement,
though, included a confidentiality agreement. And then later on, after a
2001 VH1 Behind the Music interview in which Huey Lewis discussed
details of the settlement, Parker sued Lewis and won.
Apparently for a total of $30,000. But Parker did successfully
sue Huey Lewis for breaking the confidentiality agreement that they originally had in their settlement.
Now, this is the interesting part, I thought. In a 2004 interview,
Ivan Reitman admitted that "I Want a New Drug" was
used as a temporary track in some scenes just to put a music bed on
it. They just literally randomly picked— it was never going to be in the movie,
whatever. Yeah, they did ask. They offered the theme song rights,
like, come make our theme song for this movie to Huey Lewis and the News,
and the band passed. Supposedly when the early scenes
were given to Ray Parker to give him what the vibe of the movie is
so that he could write the theme song, "I Want a New Drug" was still
in the background of those scenes. So he just like had it in his head.
When Parker first saw scenes of Ghostbusters, "I Want a New Drug" was
playing in the background of those scenes. So he may not have intentionally done it,
but the idea that he definitely was inspired by
the Huey Lewis the News song, unmistakably true. Like for sure. Oh my
God. So very interesting stuff kind of all came about So he had it like
subliminally planted in his brain. I guess something like that. Not even all that subliminal.
It was just there in the music. And then when he went to go write
his song, it was kind of there. It's entirely possible that at the time Parker
had no idea that that was a popular song. He may not have been familiar
with Huey Lewis and the News' music or with that song in particular and thought,
oh, this is part of a score they're doing. I'll make sure to utilize that
element of the score in my song. That's entirely possible. That's still plagiarism,
but it's certainly, It paints
Parker in a better light, I guess, right? Totally. Yeah, less of a thief,
more of a victim of circumstance. So, well, I mean, and this was all borne
out by history because Ray Parker had a million hits after this, so his career
would be fine without the Ghostbusters theme. Absolutely.
Um, yeah, wow, that's awesome. I love that stuff. Every time we're talking Parker and
Lewis, we can't lose. Love it. Good call.
It's actually funny too, Huey Lewis is like one of the very first concerts I
ever went to with my parents was a Huey Lewis and the News show.
Oh yeah, I was like in high school, whatever. They were huge Huey Lewis fans.
So yeah, we had a lot of, you know, I grew up with a lot
of those songs, you know, Hip to Be Square and Power of Love and I
Wanna Do Drugs. So yeah, funny stuff. I started a
cover band during COVID that allowed people to come to the concert if they hadn't
been vaccinated. It was called Huey Lewis and the Fake News.
Oh, rock on. Don't leave us comments, people. Huey Lewis and the False News.
Oh, that's even better. Oh, shit. Don't leave us comments on Spotify about that,
people. He's joking. Get a sense of humor. Okay, let's kick off this movie.
We do get a cold open. Love a cold open. We get one here.
Just scanning down on the New York Public Library, a very beautiful building,
big lion statues out front. I'm assuming this is the real New York Public Library.
I love where it shows up. It shows up in a lot of movies.
I always like to see it. And so we are following a librarian.
She's taking a stack of books towards, you know, like the whatever. She kind of
goes down into like the basement, I guess, basically. And it looks like she's trying
to put books away. But as she goes by, a bunch of books behind her
kind of float from one shelf across the walkway to the other. And you
know, I'll be honest, I didn't see a string. Like they did a good job,
whatever they're doing to hide it. Yeah, totally. She walks a little farther past those
old card catalogs. You remember looking for books in like the school library and those
card catalog things? Oh yeah. Insane. So glad it's computerized now, but like trying to
try the Dewey Decimal System and all that. Well, it felt hella good knowing that.
Like it was like a skill you felt accomplished. Yeah, and then 10 years later
it's irrelevant. Completely irrelevant. But as she's walking by, a bunch of the
drawers from the card catalogs start opening And these cards start flying up into the
air. And this is one of the reasons I think the visual effects in this
movie are so good. I wanna start with this very opening scene.
There's a lot of elements in this movie that are imposed upon the scene,
visual elements, the ghosts, different things, like whatever. But there's so much
practical effects going on. There's so many practical effects and things where clearly these card
catalog things were built in a way to launch these cards up, right?
For the production of the film, they were very unique.
Probably made completely from scratch. These are probably completely made up for
the movie. And they're really cool. And they give this amazing effect of
this raining little paper cards. They fly up fast and then they sort of fall
down slow. And it looks amazing. And the sound was great. Yeah. The little flicking
up. The little flicking noise. Oh my God. Of course, the librarian freaks out and
just starts hauling her ass through the different stacks of books. And she's
running and running and we're just getting the tense music and stuff. And then she
turns a corner. And while we are still looking at her face, You know,
her face lights up, wind is clearly blowing at her, and she screams
bloody murder. And then we get the title card. So this is the cold open
to Ghostbusters. Great, really good, uh,
great logo. Yes, oh, classic logo. Ray Parker,
whether, you know, it was all original thought or not,
one of the best movie theme songs of all time. I mean, the best,
like, because probably— and it really beefs up those weak-ass
Halloween playlists where you have like no Halloween songs to put on a playlist.
I feel like it really, uh, I feel like this This, Monster Mash, and Werewolves
of London. That's your starting point for every single Halloween. Get a little Oingo Boingo,
Dead Man's Party. There you go. Yeah, yeah, yeah. We're rounding this thing out.
Exactly. Um, but yeah, yeah, exactly. Like, the whole Huey Lewis Parker whatever thing
aside, this song is an absolute banger. Yeah, an absolute slap. Like, the,
the, the Ghostbusters theme song is amazing, and it does— and it ages perfectly,
and it hammers the title of the movie home so well. Oh my God.
So like, where it's not— it doesn't feel for— I don't know, it's just really
Really great. It feels like the perfect blending of commerce and art. Like, it does
its job as the, like, as the harbinger of the film, and it's
also a banger song, you know? And it's like, so yeah, absolutely good stuff.
So now we're kind of with Bill Murray here, who's some kind of psychology
professor. He has degrees in parapsychology and psychology. Okay.
And he's doing this ESP testing to a couple volunteer students,
one kind of, you know, dorky looking dude and one very attractive
pretty blonde. And we find out pretty soon that he's asking him what's on this
card. You know, there's an image or some kind of symbol shape on there,
and you know, if you guess wrong, I'm gonna shock you, right? And this guy
keeps getting it wrong. He's shocking him. The woman's guessing it wrong, and he's saying,
oh my God, yeah, correct. So he's like flirting with her. It's really good Bill
Murray. It's absolutely fantastic. And he is showing the guy that you're wrong,
right? So it's like he's holding up like a star, and the guy says like
square, and he turns, it's like, no, it's a star, right? And like the next
was a square, and he goes, oh, it's a circle. And he turns and goes,
oh, close, but definitely wrong. Like, you know, that's not it's not a circle.
So it's shocking. But every time the woman is guessing incorrectly, he doesn't show
either of them that card. He just puts it down, right? Because she's wrong.
But he doesn't want to shock her until the guy's getting frustrated. He's getting
frustrated. And then finally he's like, he's chewing gum and he's getting all frustrated.
And Murray, you know, Venkman, Peter Venkman goes, okay, what about this one? He goes,
I don't know. It's a couple of wavy lines. And sure enough, it's like 3
wavy lines. And he doesn't show him and he puts it and goes, today is
just not your day. It's the best guess
too, because everything else like star, square, circle and then a couple of wavy
lines for that to be the thing that he says. It's so, so funny.
It's really great. And the guy storms off. He's like, forget it, I'm done with
this, you know, keep the 5 bucks. Did you ever in
college do any of those psych experiments? They always offered those. I did a couple
of them where they give you like 10 or 15 bucks to— I don't know,
I was far too busy playing EverQuest and not getting laid to do that.
So yeah, I was super busy not getting laid too, but I managed.
Um, Yeah, it was always fun to show up for that stuff because you didn't
quite know what was going on. Yeah, but hey, that $10,
there you go. Uh, that gets you a lot back. I mean, when I was
in Chico in 2002, that would have bought a lot of beer.
So, uh, so Ray and Egon now have gotten the news basically of the
library incident. Yes. And they come in to tell Ray— busts in. You got something,
buddy? But Ray busts in, and, you know, Venkman's like been trying to kind of
close with this student. He wants to date her, and he's so pissed, and it's
so mad, and it's this this incredible breakthrough in this very
specialized field that the three of them are incredibly interested in, and all he
can think about is, 'You fucked this up for me.' He does such a funny
jump slap where he's like, 'I'm right in the middle of something,' right? And jumps
and slaps him at the same time. His physicality is—
ah, this really is— this movie is, I think, especially for Murray and Aykroyd,
is like peak for the two of them. It really is just— they are,
they are firing on all cylinders in their particular
motifs, like the way they are funny, they are doing it perfectly in this.
You know, Ramis is great too, but like I always thought Ramis was better as
a writer and a director than as an actor. But this is like Murray and
Aykroyd killing it in this movie. And it starts off right from the beginning.
And yeah, sure enough, it's like, so they go to the library, they go and
Egon's already there, whatever. And I love because where they walk in and Ray goes,
you know, basically Venkman is the skeptic-ish of the
group, right? So there's Egon Spengler, Harold Ramis, and Ray Stantz. Dan Aykroyd, and they
are true believers. They believe that, you know, they can touch the etheric plane
and whatever, you know, they believe in this kind of stuff. And it feels like
Venkman is like, "Yeah, okay, I'll go along." Like, he's not a doubter per se,
but he's like pretty skeptical, he's a little skeptical, right? Because Ray is telling him,
he's like, "You know, Peter, you forget I was present for an underwater mass sponge
migration." And he goes, "Oh, Ray, the sponges migrated about a foot and a half."
And it's just like funny little dismissive kind of stuff. But basically they,
meet up with Egon and they're chatting with kind of like maybe like the head
librarian or the manager of the library. And he's like, oh, you know, the woman,
you know, she's over here, you can talk to her. And so they're sitting down
and they're talking to the poor librarian who got scared, you know, witless or whatever.
And Venkman's asking her some questions, you know, and one of the first ones he
asks is, has anyone in your family ever been, you know, declared mentally
incompetent or whatever? And she goes, well, my uncle thought he was St. Jerome.
He goes, I'd call that a big yes. And then I love too,
they finish this off with, "And are you, Alice, menstruating right now?" And the
manager guy goes, "What's that got to do with it?" Venkman just goes, "Back off,
man. I'm a scientist." And like, those for some reason,
those two lines, I call that a big yes and "Back off, man, I'm a
scientist," like, they've stuck with me for my life. Yeah, his arrogance. It is funny
about his kind of arrogance about his position as a scientist in a field
that most people dismiss as even being a real thing. It's not even,
yeah, parapsychology, what? Yeah, so they
go downstairs to where the woman had the encounter
there, and we see that the cards are all
slimy now. It's become the gooey decimal system.
Hey! And they encounter an apparition. They call it a full torso
apparition. One thing that Ackroyd does better than anyone is just
fast talking, big words, like ultra technical stuff, which is maybe why
Ramis doesn't shine as much in this because he's kind of the same function.
Yeah, uh, in a little bit of a way, there is an element. So Ackroyd
and Ramos wrote the story together, but there is an element where the Rey Stantz
and Egon Spengler characters occupy a similar position
within the dynamic, right? Like Venkman is his own thing, right, for sure. And later
on in the movie, Winston Zeddemore has to come in as the outsider, and he
brings different perspective. But in a lot of ways, Egon's just an even nerdier Rey.
Like, in a lot of ways, you know, So there's an element of that.
And again, Ramis is a great guy, rest in peace, like whatever,
fantastic, was never the actor that either Aykroyd or Murray are, have been.
So there's an element of that. But yeah, basically like they
see this, you know, the free, they call it like a free-floating torso, full torso
apparition. There you go. And, you know, so then Fingert's like, so what do we
do? What do we do? And they're both just like, uh, and like Egon
starts typing something on his calculator. And then it's like,
he's like, well, one of us should probably talk to it. And they both look
at Venkman because he's clearly like, among humans anyway, the communicator of the group.
He's the least nerdy. Yep. I love that he asks. He's the River Phoenix.
Yeah, there you go. Exactly. But I love that he asks, where are you from
originally? Because that's, I love that line because
it's a lot, it's one of the lines in this movie that I thought was
funny as a kid. And I realized is more funny than I thought it was
as an adult. Because as a kid, all I picked up, I picked up on
the idea that like, well, this is a dead creature, whatever, like a ghost.
So they're from the other side, but he's asking like, where were you from when
you were alive? Yeah, but it's also just a very common line, especially if you
live in a big city like New York or LA or San Francisco, when you're,
when you're hitting somebody up at the bar or something or at a club to
ask where you're from originally. It's like a totally normal thing, and it's like very
dating-coded, right? And that's the element of the joke that I didn't get as a
kid, but like it's extra layer. And his approach to every female that
he interacts with in this entire movie is like that. It's like that aside
from Janine. Who we mean. That's true, actually. That's a good point.
Um, yeah, so yeah, so he's, he's trying to approach
and she turns to him and shushes him, you know, librarian ghost.
That's right. And then their big, uh, solution is get her.
Yeah, right. Yeah, Rey's like, I've got an idea, I've got to follow me,
stay close, stay close, and then get her. And then we get the same kind
of— it's clearly, uh, the ghost turns into this really scary looking thing and kind
of comes at them. And it's clearly what happened to librarian because the same wind
and light and everything, and they both— they all three of them just freak out
and run, you know, out. Uh, and I love it. Great music during this scene.
Oh, the whole school— memorable. Like, the Ray Parker song is fantastic, but the whole
score is good. Like, really, the music throughout this movie is really, really solid.
Um, and, and the manager of the library or whatever is like following them out,
like, what was it? Did you see it? Is it going— it's like, oh,
we'll get back to you. Like, they have no idea what to do, right?
And so there's that. But, uh, on their walk back to the NYU
offices, um, they're chatting, and Egon's been doing some calculations, and he says like,
if, if these calculations are correct, like, I think we the idea we could hold,
capture and hold one of these things indefinitely. It would be possible. And then I
think, and then Ray's like, "Oh, if the ionization rate is constant, we could really
bust some heads." In a spiritual sense, of course. But like I said, it's one
of those points where he's quickly telling us really scientific
sounding words. And it just sounds, you just go, "Yeah, okay, of course, if the
ionization rate is constant." Or, "Yeah, of course, yeah." He has the correct confidence that
even if he's playing someone who's all the way full of shit, he could,
he could pull that off. He's like the mental version of walking into a place
with a clipboard and just being there.
Exactly. Yeah. All right. So they get back to the university that they work at
and all their stuff is being boxed up. Right. And they're told
that their funding is cut, their grant is suspended or whatever it is. Yeah.
So they're out of work. They, and they're kind of the funny scene of them
talking about, I like academia. You don't have to produce anything. Exactly. You know,
you're out in the real world. You have to actually do something. Exactly. And Ray
mentions that he's worked in the private sector and they expect results,
you know? And Venkman's got this little sing-song thing he does that is
another thing that just stuck with me for my whole life. And I find myself
like saying for some reason, if I ever hear someone say the words,
for whatever reason, if that phrase comes out of somebody's mouth, just for whatever reason,
in my head I hear, for whatever reason, Ray, call it
fate, call it luck, call it karma, I believe we were destined to be
thrown out of this dump. And it's just like, that has stuck with me forever.
And it's this little thing, but they basically decide like, Let's go into business for
ourselves. Like, this is, you know, we've got this whole thing, this whole concept of
capturing a ghost, and like, this will be something we can do. But Ray's got
a concern. He's like, hey, this is going to take a ton of money to
like build all this stuff. Like, we know how to do it. Like, I think
the idea here is like, hey, we feel like we know what we need to
do, right? But to actually do it, it's going to take a ton of money.
Where are we going to get the money? And then it's a hard cut to
them coming out of like First Manhattan Bank. With Ray all upset. And he's like,
my parents left me that house. I grew up in that house, you know?
So he's taken out a loan and a third loan apparently. Yeah. Third mortgage.
Third mortgage that they say is at 19% interest.
And they said, you know, in years 1 through 5, that's $95,000 of interest.
So $100,000 loan that he took out.
Wow. And it's very expensive. Gets you a nice piece of property
though in New York. I don't know about nice. Because yeah, the next
cut is they're looking at this firehouse. We're not sure exactly what part of Manhattan
they're in, but apparently not. But it's busted. And this is like cheap New York
days. Yes, this isn't like 2000 to 2015,
pre-Giuliani, whatever. This was like, there are very shitty areas of New
York that are near— even of Manhattan, like, which now is like all pretty much
not super shitty, I guess. I don't know. But like, it— I think later on
we hear them talk about how we do things downtown when they're clearly in Central
Park West. So I feel like it's just downtown somewhere is where their firehouse
is. But Egon is not impressed with this place. He is like, this is not—
it needs a ton of work. I mean, it's, it's very far from ideal.
It's not a turnkey property in any way, but it's
Ray's money and Ray is psyched about it. So they hit Egon and Peter downstairs
with the realtor, kind of, or with the realtor, kind of like, I, yeah,
this sucks, this is terrible, we're gonna have to fix this and this. And then
Ray from upstairs, hey, does this pole still work? And he slides down the
pole, he's like, this is perfect, hey, we should, we should sleep over here tonight.
And he's all excited. I love, I love his, uh, enthusiasm. Oh yeah,
absolutely. And so the, uh, Then they turn to the realtor like, okay, we'll take
it. And she's like, good. Like she knew, you know, like once Ray was excited,
she's like, no, no, no, you're good. Yeah. But Egon thinks the building should be
condemned. Oh well. So the next thing we cut to is our
first view of Dana Barrett played by Sigourney Weaver. She's coming home. She's taking a
cab back to her palatial Central Park West
apartment. I don't know. I don't know what it pays to be a concert
violinist player. I don't know what it is. Cello or violinist? I'm not sure what.
Some large stringed instrument, not a violin, much larger than that with strings. That's all
I know for sure. It's like a cello, I guess, probably, you know. But to
be a concert cellist in New York City must
pay pretty well because her apartment is big and gorgeous and has a view of
the park. Yeah, it's nuts. It's pretty incredible. Yeah,
it seems like Dana probably had some family money or something to make that work.
Although, I don't know, good for her. I hope it— I hope being a cellist
pays enough for that apartment. They deserve it. But I also think maybe there was
just, uh, less care paid to like, uh, somebody's,
uh, uh, profession and what they're living in, because we also meet her neighbor Louis
Tully, played by Rick Moranis, who is a CPA. I know one of those.
Um, and apparently that pays pretty damn well too, or at least did in New
York City at the time, because he's got a gorgeous place as well. Yeah,
he doesn't have a view of the park though. He's on the other side of
the hall, so he's looking, you know, downtown or something, maybe off to the river
or something, but he's not looking at the park. You know what he says?
He says, uh, I'm having a party to celebrate my 4th anniversary as an
accountant. 4th. That's early, right? Early, right?
So I think it's probably one of those things that— no, I've been an accountant
for a long time, I've been a CPA for— but nobody knows what that
is, so we just have it say accountant. Like in the movie The Accountant,
the Ben Affleck movie— we're gonna go in CPA corner here real quick— he
has like a plaque on his desk that has his name and then it just
says accountant. Okay. Nobody uses that designation. Okay. So it
would say tax preparer or EA or CPA or whatever. Yeah. So I think that
was to make it easy. But yeah, Lewis Louis Tully.
Yes, one of the funniest side characters ever. Absolutely. We love Rick
Moranis. We're big Moranis heads here. And it's so funny because we just watched Strange
Brew last week. Yeah, it's obviously tons of Rick Moranis in that. He's, you know,
one of the stars of that movie. And his Bob McKenzie
voice and the way he holds his mouth when he makes words as Bob McKenzie
is only a slightly more exaggerated version of Louis Tully. Louis Tully is like
a slightly— let's pull— let's take Bob McKenzie, pull him back into reality just a
bit, but still make him a little goofy. Not so much on the A-hoser's takeoff,
like Canadianisms, right? But like when you look at the way he says things and
the way he holds his mouth when he talks, it's like very much like Bob
McKenzie. Yeah, I hadn't— I'd never watched these two movies close together in time from
each other. So seeing it this way, I went, oh my God, this is basically
like more realistic Bob McKenzie is kind of the Lewis Tully
character. But he's wonderful. And he, you know, is obviously super enamored with Dana,
who she— and she has no interest. Well, she's like 6'1",
gorgeous, you know, and like— and he's this, you know, nerdy little shrinky-dink guy.
She's a professional artist. Yeah, exactly. You know, all this stuff. And he's— yeah,
yeah. So, so he invites her to her— to his, uh, party later in the
week, and she says, oh, I'll try to stop by or whatever. Um, so she
kind of finally gets out of the way, and he mentions, oh, you know,
you shouldn't leave your TV on. Like, her TV got left on, which is strange.
You know, she didn't intentionally do that. Um, but she goes in, she's bringing home
groceries, so she goes into the kitchen, put some groceries down, he's starting to put
stuff away, and we get a nice little tight zoom in on a dozen eggs,
and the lid of the egg carton pops open and it's not like the eggs
jump out, but it's like the eggshells crack and the interior of the eggs start
popping out onto the counter and cooking, which is like, that's not a stovetop,
that's just her counter. So she noticed, she hears it and notices and like turns
around, is very, you know, she kind of jumps every time it happens. Like it's
obviously kind of terrifying. It's like, what the fuck's going on? And then she hears
a very deep growl coming from her refrigerator. Gorgeous fridge, by the
way. Enormous, very wide, very large. For a single person, once again. And yeah,
we'll get a look inside it later. It is like, this is too much stuff
for your fridge for you living alone. By yourself. But she opens up the— or
actually, wait, real quick, I should say, before she does that, we do— she did
see on her television an ad for the Ghostbusters ad. They did their first TV
ad, "We're ready to believe you," the whole thing. That's a really funny
slogan. I do love that because you are fishing for literally
anyone. Like, we're open to crazy people is basically what they're saying,
right? Everybody who's going to be a customer of ours has already been told they're
crazy by somebody else, right? Like, like some other exterminator maybe. So, so she's seen
that. That's a little context. But she goes to open the fridge and it isn't
a fridge. It's like, you know, there are 100 yards of space or something,
or 50 yards of space all of a sudden. And this like pyramid with stairs.
And there's this— I've always called them the demon dogs. I don't know what else
to refer to these things as. Gargoyle or something. Yeah, it's like a gargoyle thing.
But everybody else kind of talks about it as a dog. I mean, it's referred
to as a bear and a, I think a cougar as well at some point.
But But basically it's this, you know, horned dog-ish
looking demon thing, and it's— and it faces her and it
opens its mouth, and it's— first of all, its mouth is glowing, which I always
thought was scary as a kid. That's a very scary thing. And you hear it
say the name Zuul, uh, you know, like that whole thing.
So I never picked that up clearly. Oh,
really? I mean, I knew what they said because they talk about it later in
the movie, but every time I watch this, I'm like, I'm gonna listen really hard
and see if I would ever guess that it said Zuul, like, just hearing it.
It sounds like zoo. I hear Z, and I hear the ooh vowel sound,
but that's all, that's all I hear. So yeah, yeah. Um, oh yeah, so on
Dana's counter, and again, another effect that was just excellent and so memorable,
the eggs frying on the counter locked into everybody's memory who's ever seen
this. Right next to the eggs was a bag of marshmallows. Oh yeah,
um, Stay Puft brand marshmallows. No logo on it, I swear.
I gotta go back and look, but it didn't have a picture of the guy.
Okay, I swear it just said like Stay Puft in black. Um, what is she
doing with those marshmallows? It is with the groceries we see her bring
home. Single person. Yeah, she has like 2 heads of
lettuce, a dozen eggs, and the biggest bag of marshmallows you've
ever seen in your life. Like, I don't know what— it's not a solo
item, really. Most of the time marshmallow goes with something. Yeah, you're gonna bake with
it, which is usually the smaller ones. Then those ones that are— those are the
big ones, they're good for s'mores, right? Right. You know, but she's smoring. Oh no,
no, I mean, you need to put it in there, but I was a little
like, where's the guy on the bag? It's funny, it's a good point.
Um, so after Dana's horrible fridge experience, we cut back to
the firehouse that is now the Ghostbusters headquarters. Um, they're putting a sign
up on it, kind of a, kind of a temporary sign, but putting a sign
up. And this old, old-looking ambulance, almost hearse-like,
you know, old ambulance, comes driving up, and Venkman's like, you can't park here.
This is Ecto-1. This is the car that they're going to have as their like
vehicle. And I love when Ray gets out. He's like, okay, I got the car.
No big deal. It just needs a little bit of work. And he lists like
everything a car could need down to wiring, which is like, oh dude, that is
a lot of work. And then Venkman asks him how much. He goes, only $4,800.
And I'm thinking to myself, if I were to buy that car with that much
work necessary today, I'd expect to pay about $4,800.
Yeah. 43 years ago, 42 years ago, That'd be like paying $15 grand.
Like, that's crazy. Like, um, yeah,
so every— but they— it is funny that they have to go along with whatever
Ray decides because he's the money guy, even though he's probably the
craziest amongst them and the most enthusiastic about this project. Um, but he's
gonna make weird decisions that don't make sense to them. He's the truest of the
true believers, for sure. Uh, the way they have the firehouse set up,
yeah, so they're sitting there having, um having some Chinese food and they're talking about
like, oh, I need some cash, maybe from petty cash. He's like,
well, this lovely feast we have here represents the last of our petty cash.
They have arcade games in there. Yes, they have the pole.
They have old confessional booths, I think, that they use as lockers.
What it looks like— I think they're just lockers, but they do look like confessional
booths. All-time man cave, this place. I really,
really like it. Yeah, yeah. Yeah, so, uh, so, so we get a call.
Yeah, so, well, our first— well, we get a walk-in. Yeah, so our first thing
is we meet Janine, uh, Janine Melnitz, right? So, uh,
uh, played by Annie Potts. And, you know, she's like the receptionist,
whatever. Um, Venkman makes a comment about her bug eyes and then apologizes for it.
But like, Dana walks in and is basically like, you know, is this— am I
in the right place? Is this the Ghostbusters? And Venkman does— I've always loved this
little jump he does. He doesn't— he's got like this, uh, little swinging gate,
right? Almost like you'd see in a courthouse, right? Where there's like, you know,
the side with the plaintiff or whatever, and then the other side. And he kind
of hops over it and is just like chatting with her. He's like, oh yeah,
all day, all day we get this. It's always crazy stuff around here. No problem.
And it's like they haven't had anybody come in or talk to them or anything,
but they hook her up to some different monitors and sensors and
Egon's asking her questions. And basically she explains to them what
happened. And Egon's comment is sort of like, well, she's telling the truth, or at
least she thinks she is. She's not making this up. And basically,
you know, Venkman's like, okay, well, I'll go. You guys go check out, uh,
you know, uh, look, look of the name Zuul. Try and find. And Egon and
Ray are like, yeah, I'll look in the space catalog. Tobin's Spirit Guide. I spent
my entire life hoping those things were real, looking for them. They're not real things.
Okay. They're not real. There's another one they mentioned later too, and none of the
publications they talk about are real. That came up to me in the movie,
just thinking, oh, those would be kind of neat books to have, right? If there
was some book that talked about all these old evil spirits, you know, I guess
in some sense there are reference books, there are references, or there are books like
that, right? I mean, basically any, any Any book on the mythology of Sumer or
Babylonia, right? Babylon rather, would be kind of in this
basic milieu, right? Because that's kind of what we're talking about, an old Sumerian
god or whatever. But yeah, so they're going to go look for that up and
Peter's going to take Dana back to her apartment and check her out. I mean,
check out Dana's apartment. So they go and
they're walking around the apartment and the gist is there's really nothing.
There, right? There's nothing to find. Venkman doesn't find anything. He's got a little machine
he's using to try to take readings. I love how silly his machine looks.
It's just like a little bulb and he's just blasting air out in different
directions out of this wand. Really crazy. It seems so fake. And,
uh, Dana asks something to him. She's like, oh, what is that? He's like,
it's technical. It's one of our little toys. Yeah. It's like, are you sure you're
using it right? Well, I, I think I am, but I know there's no ghosts
here. So yeah, yeah. So, so he even checks the fridge and basically
nothing there, but he hits on her and is kind of like, you know,
trying to go and basically tells her, because she's like, no, you can go,
dude. Like, I'm not interested, basically. And he tells her, look, uh, I'm gonna solve
your little problem. You're gonna see how good a guy I am and this is
all gonna work out. And she's like, okay, fine, you go solve my problem,
and kicks him out. Um, and then that is when we get the,
the, uh, the Chinese, the whole Chinese food thing you mentioned,
like, kind of happens at this point. Okay, because that's what he says, like,
oh, we should take her out to dinner and keep our only client because he
wants the company to pay for him to take her out. And that's when Ray
tells him we're out of money. Luckily for them, yes, Janine actually gets a call,
you know, oh yeah, they'll be totally discreet, you know, like the whole deal.
And it's, you know, she slams this like alarm thing and screams, we got one!
Yeah, great little montage of them kind of getting ready, going on the pole,
get all their stuff and driving off. And they end up at a place called
the Sedgwick Hotel, and they are immediately met by like,
you know, in the street entrance, they burst through the doors like,
all right, we got some ghosts, whatever he says. It's just the exact
opposite of what they would want. Yeah, this hotel manager is funny. He's very funny.
He's basically like, oh, the staff knows about the 12th floor and the disturbances,
but it's never been this bad. Like, please, you know, take care of this.
And they're like, all right, we'll go check it out. And I love— there's a
scene where they're waiting for the elevator to come up, and of course they've got,
you know, the proton packs are huge. There's big backpacks with these sticks on them
and all these wires and cables and things. They've got the whole, you know,
they look like exterminators. They got the jumpsuits and everything else and the elbow and
knee pads and whatever. And there's this guy standing there at the elevator and he
goes Goes, what are you, some kind of cosmonaut? No,
exterminators. Somebody saw a roach up on 12. That's got to be some
cockroach. And they go up and he goes, you coming up? He goes, I'll take
the next one. Yeah, I just love that. That's got to be some cockroach.
Yeah, they make mention of, uh, you know, I'm a little uncomfortable, I have an
unlicensed nuclear accelerator on my back. Yes. Uh, and I think they have,
uh, Egon says, or, uh, whatever. They power one of them up.
Yes. And the other two guys like scoot, you know, the 5 inches that they
have to move to the other side of the elevator. Just the sound it makes,
the kind of hum it makes, you know, there's just a lot of power happening
there. But sure enough, they start walking around the 12th floor and they've got their,
their pro— the proton packs, they got the sticks out, whatever. And they hear a
noise and they turn and just blast. I think at least Ray and Eon do.
And they almost destroy this poor maid who's like trying to do like replace
the toilet paper or whatever in the hotel rooms. Oh my God. And there's little
bits of the toilet paper that are on fire, and it shows her in the
background trying to spray it out with the Windex bottle, like just trying to spray
Windex on this little fire. Uh, it was a nice detail.
Um, Ray, when he first— uh, so they're all kind of split up going down
the halls and everything, and Ray, I swear they have him
smoke just for this effect. I love it of having the cigarette hanging all the
way off of his lip and then slowly dropping. It's really, really good. He opens
it because he sees Slimer, the first kind of ghost we're really encountering since the
library, and And yeah, he like, his jaw drops basically. And yeah, the cigarette like
hangs on his lower lip for like way longer than you think it should.
I've always known that's something I've always loved too for some reason. Yeah, there's that.
And so he goes to try to shoot Slimer to
grab him or to, I guess the idea is the proton packs, right? They're supposed
to be like lassos. It's like a rope. Yeah. Yeah, like a rope, right?
So it's like a containment kind of thing. He tries, but he misses. They're clearly
not particularly easy to aim. You see the way that they wiggle, the little
lasers wiggle real bad. And this is the thing I want to say. This,
I think, is a really great example of how these effects are still good.
Both the effect of the proton pack blast and the effect of Slimer as
a free-floating phantasm or whatever they call him, right? They are
very cartoonish, but it's okay because they have so much of an
effect on the real world around them that it works. So like
Slimer is picking up a real plate of real food and
throwing it into his mouth. Mouth, right? And when the, and when the proton pack
shoots the wall, it carves this like huge gash in the wall that burns and
it's actually on fire. So by, by only making— so they have a
realistic effect on the environment, even if they don't look realistic in a vacuum.
Yeah, exactly. And that's why they hold up, because even though they are a bit
cartoonish, they— yeah, I think it's because they were having such an effect
on the real world around them that it's like, we can buy it. There's one
effect later in the movie that I don't think still holds up. It's got to
do with the dogs and they start running. That's the only thing that doesn't—
it's the only— doesn't look good. Everything else is fantastic. And look, I think you're
benefited by the fact that they're ghosts. You can make them look like whatever you
want. They can be see-through. They can be what— you know what I mean?
It's like there's a lot of leeway. We don't know ahead of time what these
are, quote, supposed to look like. Yeah, right. But with the dogs at the end,
or the demons, whatever, we kind of know what a four-legged animal should look like
when it runs, and it doesn't look right. Yeah, you know, so it's like there's—
that's an element. But all these things, they made so many great choices about how
much effect these guys would have on the physical sets, and it
really pays off, and it really keeps them holding up. Yeah, watching the stuff fly
around, and they end up, they end up chasing Slimer.
Yeah, he reappears down in this ballroom. Yes. So in this ballroom is all set
up for an event that's imminent. Yeah, there's the person, the organizer outside, just being
like, you know, what's going on? I gotta get in there.
Yeah. So to have all these dishes and tables and chandeliers to
be able to be destroyed by the proton, like, that makes it so it works
so good. Yeah. Um, this scene is great. You know, they're having some trouble hitting
Slimer and they realize, okay, well, we gotta make some space for our trap.
And they've already been stuffed up this room so bad, they're just flipping tables.
So you're just hearing dishes break and everything. And then when it seems like they're
about done, Venkman says, hold on, I've always wanted to try this. And he tries
to do that pull the, uh, tablecloth out from under the dishes thing and breaks
a whole bunch more dishes, except the flowers are still standing. I also love there's
an Yeah. Watching the stuff fly around and they end up. They end up chasing
Slimer. He reappears down in this ballroom. Yes. So in this ballroom is all set
up for an event that's imminent. I mean, there's the person, the organizer outside just
being like, you know, what's going on? I gotta get in there. So to have
all these dishes and tables and chandeliers to be able to be destroyed by the
proton, like, that makes it so good. Yeah, younger kid who tends to like miss
the toilet a little bit, that's a nice shoot-and-text type of situation. Um,
but yeah, but they are able to get their little, uh, I can't remember what
they call it, the, the little trap basically, right? You know, and they roll it
in and they're able to grab Slimer and get him into the trap. The thing
is smoking. I always thought they cut— they carry them by the wires, which seems
like a bad place to carry that thing from, but I wonder if it's supposed
to carry anything by the way. Not generally. Yeah, the cord, the cable, not a
good idea. But it's also not hot because later they hand them to Winston and
he just carries them. So, but anyway, But the way it looks, yeah, you can't
tell is it ultra cold or ultra hot or what's going on, right?
But basically they bust out of this thing. They've destroyed this ballroom. This event that's
gonna happen cannot happen, but they have captured the ghost. So they bust through.
We came, we saw, we kicked its ass. Like, you know, they're super excited.
I love this part where Venkman's talking to the manager about the bill and
Egon is signaling him with his hands on his face, like 4 fingers. That'll be
$4,000. And then And then for containment, we're running a special this month. And he
kind of taps his nose with one finger for another $1,000. So they're able to
like signal like what it should cost or whatever, because they apparently didn't discuss that.
I totally missed that. Okay. That's, that adds a lot to it. So they were
doing kind of like the, the bribery signaling that we saw in Thief a couple
weeks ago. Same idea. Um, and, and he says, you know, $5,000 and the guy's
like, $5,000, I won't pay it. You know? And they're like, okay, well fine.
We'll just let this guy go. We're going to put him right back where we
found him. That's fine. It's like, you're kind of screwed there, buddy. But this then
kicks off a pretty big montage sequence. Great. We start off with some great little
TV news elements. There's like newspaper covers and magazine covers and
they're capturing things. We see them at a bunch of different locations. Clearly there's businesses
booming, right? This is the idea we're getting. The Ghostbusters business is booming. We even
get a great little Casey Kasem cameo here. You know, like, you know,
the boys in gray dance the night away with the lovely ladies that experience the
phenomenon. Now back to the countdown. Like, you know, the whole thing. That's great stuff
there. Oh, and then the The least kid-friendly part of the entire movie is during
this montage. Yeah. And I'd forgotten that this happens, that clearly Rey
dreams this rather than claiming this is something that happened to Rey. Okay. Because it
shows the three of them asleep in bed in the hotel, and then we cut
to Rey not there, laying in a bed and like seeing a ghost woman,
and then she disappears, but his fly opens or whatever, and his eyes roll in
the back of his head. So he's getting a ghost blowjob. But then we cut
back to the three of them laying in the beds that they actually are in,
and he just rolls, like falls off his bed like he's dreaming or something.
Oh, so it's a dream, but he's dreaming about getting a blowjob from a ghost
in a kids movie, which doesn't— isn't great. He's— I mean, I guess,
yeah. I mean, if it's not showing anything— no, it doesn't show anything.
The scene, it is, it is very funny. And it is funny to think of
a, you know, what, 27-year-old Dan Aykroyd writing this movie and being like, oh,
and then a ghost sucks my dick. Write that down. Write that down. Herald,
Harold, put this in there, put this in there. I want to get it.
I want to get a ghost blowjob at some point. Can I get it?
No, no, no, it's mine. It's gotta be mine. For me, my ghost BJ.
I thought of it first. So yeah, so as the montage sort of ends,
we have somebody being interviewed by Janine there in the headquarters. This is
Winston Zeddemore, played by Ernie Hudson. And she's asking him, you know, do you believe
in it? She lists a ton. I don't remember all, but it's like, you know,
ESP, astral projection, blah, blah, all this kind of different stuff, the Loch Ness Monster
or whatever. And he goes, if there's a steady paycheck in it, I'll believe anything
you say. And they're just like, they need help. So then that's when, I think
it's Venkman and Ray show up and it's like they're tired and they're clearly been
busting ghosts all night. And then you're like, this is Winston Zeddemore, he's applying for
the job. He goes, great, you're hired. Come help me with this thing. I love
that idea of this being, you're hired on the spot and now get to work.
I think that it's such a good idea for this movie to have— you have
this team of academics. Yeah. And then you bring in just like a regular working
guy to be with them. Like it— and he doesn't, you know, split up.
There's a lot of stars. There's a lot of shit happening. He doesn't get a
ton of screen time. No, he has good lines though. And I think he adds
a very interesting element to the crew because otherwise it's just, you know,
3 nerds or whatever. And then you get someone who's kind of a skeptic,
more so than Venkman, a non-believer who has to be a part of it.
Yeah, and I think it's— I think you're right. And he just adds a great
little element. You're right, he's not in a ton of it. He doesn't have a
ton of lines, but he's got some really important ones. And I think— and one
of the things that he will do later in the movie is kind of ground
the experience that the Ghostbusters are having with people who don't understand it the way
that he doesn't understand it. So all the kind of laypeople who just, you know,
or whatever, they're going to get it, right? Because of him talking about it.
So yeah, so Winston is hired. There are now 4 Ghostbusters. We cut quickly to
outside the symphony hall where Dana does her works basically, and is in her orchestra.
She's walking out with an orchestra mate of hers, and who's out there waiting but
Peter Venkman. All he really has to tell her is that they found the name
Zuul, and he explains, you know, this was a— Zuul was the minion of Gozer,
which is this, you know, god of Sumeria. He says Sumeria, I think Sumer is
actually what you called that civilization. But basically just like, you know, what was he
doing in my fridge? I don't know, I'm still gonna figure this out. But they
make a date basically for Thursday night and it's okay, I'll see you Thursday,
whatever. And then, you know, he's pretty happy, but she goes off and we cut
then back to the headquarters and everybody's least favorite person in the
entire movie shows up for the first time. This is Walter Peck, played by William
Atherton, who we've seen already in a couple other movies. I think at least one
other. He was Thornburg in Die Hard, the shithead journalist who was also the
shithead EPA guy in this movie. Movie. Not sure that I love vilifying the
Environmental Protection Agency necessarily, but he's a piece of shit. So yeah,
no, I mean, yeah, I mean, I think the same thing, but you always
need a boogeyman and it always has to be overregulation.
Like if there was a movie about how it turned out the EPA was right,
it would have to take place over like a 50-year timeline. You're like, see,
this thing didn't deteriorate because we saved. But yeah, it's a little,
it's a little cheesy. But, you know, big bureaucracy. Everyone hates red tape, don't they?
I mean, I think if you're gonna say, if you're gonna have some kind of
like government entity being the thing that really sticks in
their craw, the EPA makes sense, right? 'Cause he comes, he talks about like toxic
chemicals and, you know, like hallucinations, like all this kind of stuff. So it
works, you know? Totally. And I will also say, and you know, we know this
is an incredible like power draw and stuff. If there was something happening next door
to me where they're like, yeah, they're storing ghosts and they have these nuclear reactors
and stuff. I'd be on team Peck, at least initially.
100%. But he is an asshole. And so he goes and he talks to Venkman.
One of the things I don't like about this, and I kind of wish Venkman
had said something about this, because he introduces himself, he asks, "What do you do,
Mr. Venkman?" He goes, "It's Dr. Venkman." "Oh, what are you a doctor of?" Whatever.
And he goes, "I have PhDs in parapsychology and psychology." And Peck, for the
rest of the conversation, refers to him as Mr. Venkman. And as a husband of
a doctor, Let me tell you, they don't like that very much. My wife is
not Mrs. Paulo, she's Dr. Paulo, because that's what she fucking earned, you know what
I mean? Yeah. So it's like, it's very disrespectful to continue
to refer to him as Mr. Venkman, and it's one of the earliest signs that
this guy's a piece of shit. Like, you know what I mean? Like, it's,
it's, it's not good. But he basically is saying, but it is fun to like,
uh, misdoctor a doctor to piss them off. Well, that is
effective. So it is fun to do. It is very effective. But that's kind of
why I almost wish Peter had like recognized it and like said something about it,
but he doesn't even clock it. Or he— if he clocks it, it doesn't bother
him, which maybe that's more the Venkman way, is just to not be bothered by
it, you know. Um, but it's always something where I'm sitting there watching him every
time he says Mr. Venkman, that's Dr. Venkman, that's Dr. Venkman. Um, but basically
he says, come back with a court order. Like, you're not going to see anything,
we're not going to show you anything, we're not going to take you anywhere.
You get a court order and I'll sue your ass for wrongful prosecution. Not really
how that works, Dr. Venkman, but that's okay. There's a lot of, like, in the
'80s, a lot of good, like, I'll sue your ass for— as if it's just
some an easy process where you just show up to the court and say,
hey, I'm suing this guy. Right. Uh, no, no cash layout
involved before lawyers' fees, retainers and all that. Um, yeah. Um,
so we see that these gargoyles that are on the roof of Dana and Lewis's
building are these, you know, dog creatures, whatever we want to call them. They look
more like gargoyles when they're stone. Yeah. They look more like some kind of— It's
an easy time to call it a gargoyle when it's like is being one.
Um, but But the statue starts to crack and we see something's like emerging from
it, you know, so the arm busts out and the eyeball busts out. Glowing red
eye. It's really creepy. Yes. Um, Louis is having his party as
Dana's coming home, right? And he's trying to tell her, hey, hey, Dana, you want
to come into my party? Yeah, yeah, you know, I got a lot of people.
I invited, uh, clients instead of friends. That way it's a big tax write-off.
And the other recurring theme is Louis gets locked out of his apartment every time
he comes out into the hall. Uh, it's like the lock of horniness. It's like
you got too horny and this, this lock has punished you.
Um, but yeah, so Dana, you know, maybe later she walks by because that's the
night she's supposed to meet Venkman, right? And so she says, oh, actually I have
a date. And he goes, you made a date on the night of my party?
And she's like, I'm sorry, I forgot. Like, he's like, okay, you can bring him
too. And then I love, he goes, we're gonna play some Twister, do some breakdancing.
Yeah. Um, but she goes in
and she gets a phone rings, it's a call from her mom. So she's like
sitting on her on a little easy chair in her kind of living room.
She's talking to her mom, telling her she's got a date tonight. Yes, to go
with the Ghostbusters. Yes, those guys from TV, like the whole deal. When she hangs
up, we see from the side of her, like, like where her kitchen is,
it's glowing big time. The door is like glowing,
and it's like, you know, she kind of notices, and then the whole chair turns,
and like these, the kind of demon dog looking hand things all come out,
like grab her arm, grab her, all the variety of animal limbs come out.
That is really cool. Thing. One covers her mouth to keep her from screaming,
and then basically the door opens and it's one of these demon dog
gargoyles there. I probably should just call them gargoyles. I was always calling them demon
dogs as a kid. But like, this gargoyle's there and it, you know, the chair
flies towards it and we cut away from her. Yeah, right. But it's like something
bad has happened to Dana, that's obvious. Um, and so then we cut over
to, uh, to the party, to Lewis's party. He's chatting with people, like he's talking
about how it's a write-off. Yeah, smoked salmon.
Yeah, that's 17.99 a pound, but it only cost me $11.99 a pound after
the tax write-off. It's like, so— oh, I— and that's— it's such a
short part, but it's very memorable for me. Well, his, his going through there.
Oh, one other thing I just want to point out, yeah, is visually this movie
is very vibrant and bright. I really like the colors of it. Like, it looks
very good. Yeah, you know, it's old, but it, it doesn't look shitty in
an old way. It's just like, man, there was thought put into all these scenes.
Like, there's A lot of attention to that. So I like that.
Lewis's outfits are amazing. He's got this little, little cravat, the little like
whatever neck dickie thing he's got on. It's hilarious. Um, one thing I wanted to
ask you as an accountant, as a CPA yourself, my friend, when his,
uh, clients Ted and Annette show up, right, he's introducing them around to the party
and he's going into detail about having like a carpet cleaner
company and receivership, and she's drawing a, a delayed pension
or something, whatever. So, and they've only— they won't— they they only own $15,000 on
their house. They're okay. I'm like, nobody— you can't— no, it's like never,
never. It's like a client privilege thing, right? Like, when I saw that,
uh, yeah, when I saw that, I was like, Lewis, everyone should fire you now.
Right, exactly. It's like nobody's gonna still have him as their accountant. It would be
one thing to just say, hey, they have this company, this is what they do
for work. But to be like, okay, they have this building that's underwater and
they have liens against their property. And, um, yeah,
it was pretty wild. I was like, that is like way too much detail.
Really Funny though, how enthusiastic he is about the financial details of
everybody's life. It is true. Like, that's the— that's what's significant about them,
right? Exactly. Balance sheet. Yeah, well, because it's what matters to him, I guess,
the most. Yeah. Um, so he takes their coats and he kind of tosses them
into the bedrooms, or the bed, you know, just the coats. And of course there's
a gargoyle in there, and the coats kind of land on— kind of funny.
And actually, these are one of the better looking gargoyles. When they're stationary and they're
puppets, they look fantastic. Yeah, good, good rubber puppets. They look great, they move good.
The whole deal, the puppetry is fantastic. So it tosses it in and then it
growls after closing. Lovey goes, okay, who brought the dog? And it
busts out. And this is where the effects aren't as good, right? When it's busting
through the doors and whatever. Yeah, anytime it's moving, it's looking a little dated.
Yeah, but that's okay. It basically chases him out of the
apartment and, you know, he goes down the elevator and everything else. And then he
gets out and I love it. He's running out the door of his apartment building
across the street to Central Park. Park, and he's just screaming almost incoherently. But the
doorman is like standing there and somebody walks over. What do you say? He's like,
oh, something about somebody brought a bear to a party or something like that.
And then the gargoyle runs past them and like knocks the guy over and it's
chasing Louis down. And it's really great. And then
he gets— Can other people see it? I was wondering about that too, because we—
he gets to this. Okay, first of all, in the party, definitely, right? People reacted.
Yeah. In his apartment, people reacted to this thing for sure. But then, and then,
and then it knocks over the doorman. So I
guess if they're invisible, but they're blowing open the door, maybe people just reacted to
that. And maybe the doorman got knocked over and didn't know by what, because Lewis
runs to a restaurant. Big, big, big windows in the middle of Central Park.
Very Trading Places, like outside the restaurant, a guy named
Lewis. You know, that's a good point. Yeah. And so, so he,
you know, runs up to this and speaks like, hey, let me in, trying to
get into this place. And a bunch of people see him. They look at him.
And then he turns around and kind of slides down the window as
he like falls to the ground. And the dog, the gargoyle, whatever is there and
like attacks him. And everybody, everybody in that restaurant is looking like the music's
not playing. Yeah. And then he kind of goes out of sight and they just
go back to their food. So clearly they didn't see anything, right? They couldn't have
seen the gargoyle and not reacted at all. So I'm not sure
exactly. Yeah. As far as the canon lore of like are
these things visible to like everyone? Like, would Peter Venkman have been
able to see it? Because they definitely see them later, right? So yeah,
I don't know. But yeah, hey, if you're a ghost, uh, hit up,
uh, the show at twodads1movie.com.
Exactly. Oh man. So, um, so then we get,
uh, Venkman shows up at Dana's, right? And she answers the door and she's
got this ridiculous outfit on. I don't know where this, this this chiffon and
sort of silk dress came from, but whatever. And she answers the door and
he's kind of like, whoa. And she's like, are you the key master? And he's
like, no. So she shuts the door. So he knocks again. Are you
the key master? And he's like, yes. And he walks in. He's a friend of
mine. He said I should come for, you know, you can see, you'll be here
later, whatever. And so basically she introduces herself as Zul the gatekeeper.
And this was one of those jokes, I gotta be honest. So I love the
key master gatekeeper thing. I probably understood this joke younger than I should
have. Like, I feel like the whole, ah, the man has the key and
the woman has the lock kind of thing. You know, like, I think I knew
like at like 9 or something, I'm like, oh, that's a sex thing,
I think. Like, not that I understood the details, but like that kind of clicked
or whatever. And I feel like it's a pretty risqué kind of joke for kids.
Like, you know what I mean? It's not a kids movie per se, but it's
obviously a movie that many, many kids would see 'cause it's PG. But like,
I always kind of thought that was funny that like, like that. I don't know,
like that always tickled me, the whole Keymaster Gatekeeper thing. It's a little, it's a
little, it's like so on the nose. I find it funny. But you have,
yeah, and you have to be like, as a kid it probably goes over your
head for the most part, right? Yeah. But, um, anyway, yeah, so,
so he's like trying to get through to her. Yeah,
yeah. He's like, Dana, is Dana in there? And she says, there is no Dana,
only Zul. Couple times she repeats it back. Great line.
We've definitely, uh, repeated that one. I was gonna say, I, I can do it
if we— oh yeah, Absolutely, folks, here's your treat. There is
no Dana, only Zul.
Fuck yeah,
that's good. Um, yeah, but her freak
out, you know, and, and she's laying down on the bed and she starts
floating over the bed. First she's trying to kind of seduce Venkman and being
very like handsy with him and she's breathing really heavy and,
and, uh starts floating up in the bed. Cool scene. I mean, pretty cool looking
effect. Another cool effect. Again, like, not super obvious wires. She actually turns over
while she's raised up, so like, it's not a simple wire effect. There's obviously something
else going on there, maybe some kind of an old blue screen or something.
I don't know exactly, but, but it works. It really, it really holds up.
Um, and it's not like, uh, Hosehead in Strange Brew where it's clearly sitting
on something, you know, because like the way her clothing moves is more natural than
if she were like on a platform or a blue screen. So So very cool
effect. That extra $26 million budget will do it for you. It does make a
big difference. Um, so after that little event, and now, and now, you know,
Venkman obviously understands this is a huge problem. Dana's been possessed, essentially. He even says
something about, I don't get— I have a rule not to get involved with possessed
people. She says— this is another good Risky Joke— she says, uh, I want
you inside me. And he's like, uh, maybe later, sounds like it's pretty full in
there right now. Exactly, you've got at least 2 people in there right now.
Um, so then we But back to Central Park, and running out of Central Park
is our buddy Louis Tully, who introduces himself as Vince
Clortho to a horse, I believe, is who he first introduces himself to.
But he is the Keymaster. So this is the whole, like, just to kind of
sum it up, right? The two gargoyles come to life and then possess
a woman and a man to be the new embodiments of Zuul and Vince Clortho,
the minions of Gozer, essentially. Not sure why Vince gets a last name and Zuul
doesn't, but hey. Hey, it is what it is. Yeah, it's kind of like a
Prince thing. You just— your name's just Zool. Um, I do love
Vince talking to this horse, and then the, the driver of the carriage is like,
hey, if you want to ride, you got to talk to me. And then he
gives him like the Teen Wolf keg of beer eyes, like the glowing red,
like, and scares him and runs off. Yeah,
exactly. Um, God, Vince Clortho. Yeah, so he ends up, uh,
getting picked up by the cops somewhere, and they, they bring him to the Ghostbusters
because they're like— which, I don't know, Janine's line when she answers opens the door
to the cops is one of the funniest lines to me in the movie.
When she sees it's a cop and kind of looks him up and now just
goes, dropping off or picking up? And he goes, dropping off. Okay.
But it's like, she knows, you know what I mean? It's, I just love that
line so much. Like, are you here? You're here to arrest somebody or you bringing
us somebody? Dropping off or picking up? Dropping off. So yeah,
so they basically, you know, they bring him in and this is interesting too,
because they put the same little sensors they put on Dana when she first came,
you know, to the headquarters to talk to them about her fridge and stuff.
And we saw the sort of outline of her head in this
monitor, the screen, and it looked like her, like it looked exactly like her.
Now Vince Clortho is hooked up, Lewis is, with these little sensors, and on that
screen it's shaped like the gargoyle. It's actually not his head, it's the
horns and the gargoyle. Yeah, it's shaped like the gargoyle, and that's what Egon kind
of notices. And, you know, he's basically like, okay, well, this is crazy.
And Vince has given him all kinds of crazy stuff about the coming of the
Voldari or something, and in the the third reparation of the— this— I mean,
it's like, I don't know any of it, but it's so incredible. You know who
did know it? And I'm going to shout out our friend Todd Toffoli, who we
went to school with. He did an excellent impression of that back then, and I
bet he'd still bust it out today. So Todd did a hell of a Clortho
back in the— there was a— there is a line about many somethings knew what
it's like to be roasted in the belly of the Slor that day, I can
tell you. Yeah, that's a good part of it. But basically
Venkman calls at this point. Yeah. And Egon's like, you know, where are you?
What's going on? He goes, well, I just met Zuul, uh, I just met the
gatekeeper. And he goes, oh, I've got the keymaster. He's like, we got to get
these two together. And he goes, that would be extraordinarily bad. But one thing that
I want to say about this is that Venkman— so Dana's basically asleep on her
bed now, right? And Venkman tells Egon that he, you know,
shot her up with 300 cc's of Thorazine.
So now we have to understand that Peter Venkman went on a
date with 300 cc of Thorazine in a syringe in his pocket.
Why did he have that with him? Part of my everyday carry, you know.
I got a pack of Tic Tacs, I got my Thorazine. Also, he's not a
medical doctor, so where's he getting the Thorazine? Like,
this is wild that he just has Thorazine on him. You know what, that is,
that is definitely a Mr. Venkman style move. That's a Mr. Venkman move.
Yeah. Uh, So Mr. Walter Peck is back. Oh God, yes,
he's back at the Ghostbusters station with the cops and someone from the
utility company. Yeah, saying, hey, I'm here to shut this down. Here, I have a—
I have an envelope, and I assure you that inside this is a piece of
paper that allows me to do this. Yes, a court order, as Venkman told him,
come back with a court order, you know. Um, so yes, they go down to
the basement, and basically he's saying, shut all this off, shut all these off.
And Egon's like, that would be like a bomb. Like, you can't do it.
It'll be like a bomb dropping on the city. And they argue back and forth.
And Venkman comes back because he's back from Dana's, and he, you know, is like,
you know, hey, I'd love to cooperate, whatever. And, you know, Pack's like, you had
your chance, you know, that's— this is it, kind of thing. And, uh, and they,
they do, they shut it off. And the whole thing, the alarms start going,
oh my God, it's crazy. And we get another kind of quick montage of,
um, you know, what's happening around the city, right? So the, the roof of their
firehouse explodes, and this huge light column comes flying out. Again, this is another element
where I think all these effects hold up really great because they're just, they're kind
of meant to be. It's just like a transparency of something that you can film.
Exactly. Somebody, so really smart to do it that way. We get, we get ghosts
popping out of subway stations. We get Slimer in a hot dog cart. We get
like all kinds of crazy people. Just, you know, there's like a really cool looking
puppet of like a still fleshy skeleton driving a cab. Like there's all kinds
of great little elements. And then I immediately crashes the cab.
Exactly right. So we get back to the thing. And now of course there's now
hydrants have gone off and there's water flying everywhere. So everybody's kind of soaking wet
too, which has got an interesting thing. But like basically Peck is like,
arrest these men, they did this, like whatever, to like the cops. And I love
it. It's like, will you shut up? And Egon, the one time Egon gets pissed
is he goes like, like you're, this was your fault. And he goes, your mother,
and like attacks Peck. And Harold Ramis yelling your mother is so funny.
Oh yeah. Oh my God. Uh, yeah, now our heroes end up
in jail. They are in jail. Uh, they're getting a good amount of respect in
jail. I wonder if the prisoners recognize them as the Ghostbusters. These guys,
they've been on famous— the COVID of The Atlantic, uh, according to the
montage. Well, but also like, like what, a USA Today? And like, you know,
these are— these are— these guys are famous certainly within New York at this time,
right? These guys are pretty, pretty well known. So it's not surprising. Don Mattingly and
the Ghostbusters. That was it. There you go. Keith Hernandez,
um, a little later. But no, uh, so they've got this blueprint though. I'm not
sure why they're allowed to bring their blueprint into the holding cell, but they have
a blueprint of Dana and Lewis's building. Yeah. And so Egon's kind of
talking them through like why this is weird. Egon and Ray are kind of talking
about why this is so strange. And I love— there's a point where,
you know, so they mentioned this guy Ivo Shandor, who, uh, you know,
was the— you know, basically was like this, this cultist who, who was the architect
of the building. And all this stuff. And he, and after World War I,
he decided that humanity was too sick to survive. And so he started like bringing,
you know, doing all these like rituals on the roof to try to bring about
the end of the world. And so, you know,
there's a very funny line where Winston is talking to Egon and he says something
like, so you're telling me that a moldy, I'm gonna go in front of a
federal judge and explain that a moldy Babylonian god is the reason this all has
happened? And he goes, Sumerian, not Babylonian. And I love that that's the correction that
he makes. Sumerian, not Babylonian.
But now the keymaster and the gatekeeper have found each other, and so
they connect. And, you know, we can only assume that that's bad, but they
basically walk together up to the roof. Yeah, through Dana's corner
penthouse, apparently. The cellist with the corner penthouse. Seriously, I really— I want a financial
analysis on a lot of this stuff. Some forensic accounting here. But, but good
for, uh, good for Moranis to like be willing to stay in character and be
with somebody who's so much less attractive than him, you know, for the sake of
the film. Real, real— yeah, real struggle.
The struggle is real for guys like Moranis having to be with Sigourney Weaver.
Oh man. Um, so yeah, so, um,
our boys are back in the mayor's house. Yes, they've been taking— the mayor wants
to see them because the whole island's going crazy, we're told. One of the— one
of the best scenes in the film here. Absolutely. We get there and it's a
bunch of— you got the fire chief, you got the police chief, you got the
mayor, you got all these people are here. And then the Ghostbusters are brought in
and Walter Peck is there and he's basically telling them how everything, you know,
it's like these guys are— this is all fake. Basically Peck's argument is these guys
use noxious chemicals and toxins and gases to like make people hallucinate
that they're seeing things. And then they put on a light show and they claim
they fix the problem. They charge them thousands of dollars. That's his claim, right?
And somebody points out, well, the walls of the 3rd Precinct are bleeding. How do
you 'How do you explain that?' Right? You know, kind of thing. And then one
of my favorite moments in this is when the cardinal shows up, right? So this
is like the cardinal of the Diocese of New York City comes in and,
you know, the mayor's like, 'Oh, Your Eminence.' He goes, 'Hi, Lenny. You know,
how you doing?' He goes, 'I'm in a real pickle, Mike.' And he kind of
slaps his cheek. And I've always loved the familiarity, like, moment of like, 'I'm in
a real pickle, Mike. Like, I don't know what to do here.' And he says,
he tells him, like, you know, 'The church is not going to take sides on
this.' This is— we're not gonna make an official statement. We're in official no comment.
Yeah, exactly. But like, dude, do something about it. Yeah. Um, and then that's
when, uh, Winston steps up and says, look, Mayor, I, I know
you don't believe any of this stuff, but like, I didn't believe any of this
when I started. And I, I love his line. He goes, since I started here
a few weeks ago, I've seen shit that'll turn you white. Yeah. And everybody kind
of goes, oh, that's a weird way to put that. I love that. I love
that. Um, but yeah, great, great lines from from
Venkman and Stantz and Egon talking about, you know, what is happening.
These are biblical, you know, sort of ramifications, right? Yeah. And Peck is
like, you're not going to really believe these guys, are you? Like, but they say,
uh, they say, you know, none of this wouldn't have happened if Dickless here didn't
shut the power off. And then he says they caused an explosion. And the,
and the judge, or the mayor, looks at Venkman, he's like, is this true?
He goes, it's true, this man has no dick. Great,
perfect, great line. Yeah, excellent, excellent. Yeah, but so basically the mayor
sides with, with the Ghostbusters after Venkman reminds him, you know, hey, if I'm wrong
about all this, we'll go to jail, we'll enjoy it, whatever.
But if I'm right, Lenny, you will have saved the
lives of millions of registered voters.
At which point, at which point they dismiss Mr. Peck and they decide to let
the Ghostbusters save the day. Uh, and then we
get another montage here. Is the song called Saving the
Day? It must be. It was. It's a great song.
Yeah, so yeah, I like that, getting suited up and everything.
Yeah, um, they have to take the stairs, uh, up to the roof of Dana's
building, which just looks like the most impossibly endless staircase.
It's, it's shot from underneath in one of those classic square stairwells.
Oh my God, I was almost surprised. I thought 22 is like— 22, this 22nd
floor is where they're going to. Yeah, for some reason I thought like that doesn't
It seems like the building would be bigger than that. But then I mean,
22, that's a tall, tall-ass building. So, you know, and you can see from when
they're on the roof, you're looking out across like the park to like further downtown
in New York. And there's far, far taller buildings. So it's not like it's the
biggest building in town or anything. So, but yeah, they have to haul ass and
they're again carrying their unlicensed nuclear accelerators on their backs, you know,
all the way up 22 flights of stairs. That's pretty insane. I love it too.
It's like, where are we? Somewhere in the low teens. Tell me when we get
to 20. I'm going to throw up.
But yeah, so they find their way up the stairs and they find Dana and
Lewis on the roof. But as they are watching, the two of them
morph into these gargoyles again and are taking position
within this sort of like temple thing. There's like, yeah, the laser like hits the
two of them as they're turning into the dogs and opens up this door.
And it wasn't obvious that it was a door. It looked like just kind of
like some kind of motif, like some kind of, you know, alfresco or something,
whatever. And, and, but it opens, and then, and then just like in Dana's fridge,
there's this wide space and then this pyramid and whatever, um, over there.
And the boys, uh, you know, look at it, and then there's this
really strange looking woman. She's got short hair, red eyes, dressed in like
this kind of gossamer fabric or something, whatever it is. Yeah,
it's kind of like an evil Pat Benatar, a little bit something. Yeah, she looks
very new wave, very kind of, you know, like very music of our time.
Ziggy Stardust. Oh, that's actually, yes. That's kind of, without the star on the
eye, it looks a lot like a brunette Ziggy Stardust for sure. But they're kind
of like, what do we do? And so it's like, oh, Ray, you can try,
right? And he says something about like, as a duly appointed representative of the city,
county, and state of New York, I request that you go back to where you
came from or the nearest parallel dimension. Like he's trying to be all like,
whatever. And this is a great line. Gozer, this is Gozer, They realize,
goes, are you a god? And he kind of goes,
no. Then die, right? Like, like very, uh, Emperor Palpatine,
laser fingers kind of thing, you know, knocks him down. At which point, after they
recovered a bit, Winston goes, Rey, when somebody asks if you're a god,
you say yes. That's so good.
Oh man. Uh, so they're lined up now with their proton packs
and they're trying to get her, and she's too nimble. She's jumping out of the
way. They can't get her. Bruce Lee. And she, you know,
Gozer says something like, it's up to you to choose the form of the
destructor. Yes, choose the form. You know, the destructor has arrived, choose the form
of your destruction. And they realize, Peter kind of quickly realizes, whoa, okay, so whatever
we think of, that's what— so we think of J. Edgar Hoover, J. Edgar Hoover
will come and destroy us. So let's keep— close your mind, close your minds,
don't think about anything. We only got one shot at this. And as he's saying
that, we hear Gozer's voice again. Choice is made or whatever. It's like, whoa,
no, no, no, we didn't choose anything. But Ray is looking rather sheepish. Yeah.
He's like, and he goes, I just, I thought of something, you know,
wholesome and safe that could never hurt us and thought back to camping as a
kid and making s'mores with Stay Puft marshmallows. And like, and that's when they realize,
they look down, you know, Fifth Avenue or whatever it is, and there is a
100-foot-tall Stay Puft Marshmallow Man walking down the street. Oh my
God. And I think, is this where Venkman says, uh, mother puss
bucket? Mother puss bucket. Like, I gotta say,
I would rather be called a fucker than a puss bucket. It's pretty gross.
A thousand times. Yeah, it's, uh, this was clearly—
I feel like this— I feel like PG-13 was not available
to them. Yeah. And that if they'd left motherfucker, because it's clear that should have
been motherfucker, sure, that would have been an R. And they were like, ah,
it'll kill our— you know, they gotta have that four quadrant, make a lot of
money kind of thing going on. Yeah, you can't be an R. So that's when
they changed it to Motherfucker Bucket. Uh, yeah, a good, good way to like
make it still, uh, sound bad. Yes, exactly. That's absolutely
true. Uh, so they kind of realize with this Marshmallow
Man that, yeah, they, they can't do too much to them. They shoot at
it and it's not doing much. It doesn't even slow them down. Like, the guy
keeps walking to— they're hitting with the four streams or whatever And they're not even
really, it kind of lights on fire, but doesn't seem to stop them at all.
So they have to jump out of the fire. And this is when Egon goes,
there is one choice. We could cross the streams. And then it was like,
well, what would that do? Cross the streams? Like, well,
we would like reverse the protons back through the gateway. I mean, again, there's another
sort of like explanation of like weird stuff, but he's like, lovey goes, there is
definitely a very real small possibility that we could survive.
It's like, okay. Um, but yeah, sure enough, they, they kind of press
their little, you know, they kind of aim their whatever— I don't want
to call the streams, whatever they are— towards each other at the temple back through
the, the gateway, right? Like, so they're— because it does seem like, you know,
so they're trying to reverse the effect of this, like, letting things in from that
dimension. It's trying to push it back, blow it up, push everything back. Yeah.
So yeah, so it definitely— they do that, and sure enough, man, it makes the
whole thing explode. The Marshmallow Man has now reached the roof,
right? It's climbing over, but he then is then caught up in the explosion and
it destroys him as well. And everything is covered. I mean, this falling
marshmallow is falling down on the people on the street below. Yeah. And all this—
Winston was right about something turning you white. He was literally
turned white along with the other guys who were covered in marshmallow fluff. That's funny.
It's actually funny they're not all covered in marshmallow fluff. For whatever reason, Venkman is
like almost unshaved. Yeah, well, because they know he has to like
reconcile with Dana at the end, so you get stuff all over. She has to
recognize him right away. Yeah, you know, you don't want him covered in stuff,
you know. Who's this? Like, you know, um, uh, and is it him or Egon
says, I feel like the floor of a taxi cab? Yeah, whether they're out of
there, uh, yeah, so great, great explosion. You know,
for how much I remember the Stay Puft Marshmallow Man, I would have
thought he had 18 solid minutes of screen time, but it's very
brief, very quick. And later in the cartoons, a lot of these things became a
bigger deal, like Slimer and the Marshmallow Man. I mean, Slimer became like their little
pet. Yeah, he was like I guess, uh, Orko.
Yeah, that's right, man. Um, oh yep,
but that's, that's pretty much it after this is just sort of celebrating. And Winston,
this is something that I, I've always thought in my head whenever I'm somewhere that
I'm having a good time or I see something reminds me especially of liking the
place where I live. Yeah, I think to myself, I love this town, the way
he says it. And that's his reaction is really good. So they get
Dana, they get Dana and Lewis out of these gargoyles.
Yeah. Um, so they, you know, who are you guys?
Uh, or Louis, like, who are you guys? We're the Ghostbusters. Who does your taxes?
I think that might be the actual last line in the movie. It could be,
actually. Yeah, because the rest of it's sort of celebrating and the song playing and
like whatever. Great. Yeah, a movie just ending when it ends.
Yeah, in the moment it ends. It doesn't flash to one month later. It's just
like, we're still covered in the shit and we're celebrating on the streets with these
people who just saw the craziest thing happen of all time, and we're just getting
down. No epilogue at all. Very, very, very fun. That is
Ghostbusters, man. That is such a fun movie. Oh, man. Okay, well, this was my
pick. Yeah, I'm going to give my breakdown first. And this was one of those
movies that, like I said at the beginning, for a significant period of my life,
this was, quote, my favorite movie of all time. And it's not there anymore.
It's not— it's not— it doesn't currently hold that title for me. But for a
long time it was. And it's still something that just— I, at a time in
my life, I could have recited this movie beginning to end. And without any prompting,
I even thought to myself, I could do this episode with you this week without
having watched it. I could have, but then I thought to myself, why would I
not take the opportunity to watch it though? I have a good reason to watch
it. Let's watch a new feature that we have though. It's just one guy raw
dogs the movie, doesn't watch it. We're too old to use raw dog that way.
That's true. It's actually, it's the only way we can use it. That's fair.
No, but so just love this movie and I, and it was, and it held
up. Like one of the main things for me is that it all held up.
There's nothing in couple of special effects that don't quite look as good
as they did before, but most of the effects in this movie are fantastic.
Yeah, still hold up, still look great. Like 99% of these effects are fantastic.
The humor is great. There's nothing really objectionable in any of the jokes
or the way that they like formed any of the laughs. This is a really,
really great movie, and I have nothing to say about it.
No notes to give to Ghostbusters. I am a 5 out of 5,
easiest 5 I've I've given this entire time. All right,
well, yeah, I mean, again, holds up very well. I don't care about the
effects that don't work. And, you know, I like it a lot better that they
didn't do a remaster where they like made the dog thing look good,
because I don't— I like things to be a snapshot of a point in time,
you know. Um, but then, you know, being a snapshot of a point in time,
a lot of times we have very problematic humor and everything. And there
were plenty of opportunities for this movie to take a swing at that kind of
stuff, and they did not do it. Yeah, there's not a single reference to the
fact really that Winston is Black other than his like, this will turn you white
thing, or what, you know. But there's— there, there were opportunities
for cheap jokes that were not taken. Yeah. And I think overall that makes this
movie hold up so well because the characters are very memorable.
Um, all the action of it, I really do love this. And it spawned a
whole ton of other shit, some of which was good and some of which
shouldn't have. But who cares? It's not— it's not those movies' fault,
you know? Yeah, you can't blame this movie for them.
Um, but, uh, this was like just shy because there was a couple parts of
it. And like I said, I don't have quite the nostalgia of this
movie, but this is a 4.5 out of 5 for me. I love this.
Um, definitely watch it. Definitely watch it with your kids. It holds up. Ghost blowjob
aside, uh, this movie is a 4.5 out of 5. I thought it was fantastic.
Fantastic. That's awesome. So 9.5 out of 10, uh, from the two dads on
Ghostbusters. Absolutely well earned. That's a score I'm happy with for
sure. And, uh, we're going to continue our march through Two Dads,
Two Decades with 1985. And Nick, your pick for us for '85, what are
we watching next? Yeah, so for 1985, we're going to change pace a little.
We've had a couple comedies in a row, and this movie, uh, coming up is—
I don't know, I mean, there's parts of it that are comedic, but it's more
just like a drama, like a high school age drama. We're gonna see
some people that we haven't seen yet, um, that were young actors
at the time, a great ensemble cast. This is a very,
very, uh, popular, well-known movie, um, so we'll have to dig deep
and find some interesting things to say about it. But we're gonna go to 1985
and we're spending the day in Saturday School. Oh, and,
uh, we're gonna, we're gonna hang Hang out with The Breakfast Club. Love it.
That's fantastic. Yes. Fun. John Hughes. We've seen some John Hughes
stuff already. Such an important filmmaker for the era.
We've seen Paul Gleason already as the principal here, and that's going to be a
lot of fun. But yeah, a lot of these actors, really important. Emilio Estevez,
Molly Ringwald, Anthony Michael Hall, Ally Sheedy, even Judd,
whatever his name is. Judd Nelson. Thank you, Judd Nelson. But I don't think we've
seen any of them yet. I don't think so. This is a shame, actually.
But hey, like, this is going to be great. Cool. So 1985, next week,
The Breakfast Club. I love that pick. That's fantastic. Oh, yeah. That's a wrap.
So if you like what you hear, please consider heading over to Apple or Spotify
and leaving us a 5-star review. It helps new folks find the show. Be sure
to check out our website at twodads1movie.com. That's the number 2 and the number 1.
There you can explore the movies we've covered, sign up for our newsletter, The Rewind,
and even get sneak previews of upcoming episodes. We'd also love it if you followed
us on Instagram @twodads1movie. Once again, this has been Ghostbusters,
another episode of Two Dads, One Movie. I'm Steve. And I'm Nick. Thank you so
much for listening, and we'll catch you next week. Thanks,