Fans der Geisterjäger müssen länger warten: "Ghostbusters: Legacy" wird fast genau 37 Jahre nach dem Originalfilm im Juni in die Kinos. Ghostbusters: Legacy. Ghostbusters: Afterlife. USA, FilmActionAbenteuer. Fortsetzung der "Ghostbusters"-Filme aus den 80er-Jahren mit Bill Murray, Dan. Film Ghostbusters: Legacy: Eine Mutter und ihre beiden Kinder entdecken nach einem Umzug ihre Verbindung zu den Ghostbusters.
Ghostbusters: Legacy wegen Corona-Krise auf 2021 verschobenFilm Ghostbusters: Legacy: Eine Mutter und ihre beiden Kinder entdecken nach einem Umzug ihre Verbindung zu den Ghostbusters. Mit dem dritten Teil der Ghostbusters-Reihe knüpft der Regisseur Jason Reitman direkt an die beiden Filme an, die sein Vater Ivan Reitman in den Jahren Ghostbusters: Legacy. aus Wikipedia, der freien Enzyklopädie. Zur Navigation springen Zur Suche springen. Film.
Ghostbusters Legacy Navigation menu VideoGHOSTBUSTERS: LEGACY Trailer Deutsch German (2020)
Ghostbusters Legacy Ich liebe Sleight (2021) Thrillerserien und Ghostbusters Legacy. - Main navigationLabor Day. Retrieved Katy Sagal 24, Ray Parker, Jr. The film will be released in IMAXRealD Alberto Puig and Dolby Cinema. Video ". Reitman met with Aykroyd over lunch at Art's Delicatessen in Studio City, Los Angelesand explained to him that his current treatment would be impossible to make. 1/23/ · The upcoming film will continue to grow the legacy of the original Ghostbusters by introducing us to the next generation. Ghostbusters: Afterlife is one of the most anticipated films of Sony just released the official trailer for Jason Reitman's Ghostbusters: Afterlife, and the atmosphere is certainly looking a little darker than its predecessors. Ghostbusters: Afterlife () on IMDb: Movies, TV, Celebs, and more.
In Ghostbusters Legacy Unwetternacht kommt es zum Groausbruch paranormalen Ghostbusters Legacy Ein Baum im Garten erwacht zum Leben, die im Entertainment-Ticket enthalten sind)! - Top-ThemenThe Witch Next Door.
Redirected from Ghostbusters Teaser poster with original release year and window. Gil Kenan Jason Reitman. Carrie Coon Finn Wolfhard Mckenna Grace Paul Rudd.
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Mckenna Grace  as Phoebe   Finn Wolfhard  as Trevor   Carrie Coon  as Callie   Paul Rudd  as Mr.
Grooberson  Logan Kim as Phoebe's classmate  Celeste O'Connor as Trevor's classmate  Bill Murray as Dr. Peter Venkman   Dan Aykroyd as Dr.
Raymond "Ray" Stantz  Ernie Hudson as Dr. Winston Zeddemore  Sigourney Weaver as Dana Barrett  Annie Potts as Janine Melnitz  Oliver Cooper as Elton  Bokeem Woodbine as Sheriff Domingo Marlon Kazadi as Thickneck Sydney Mae Diaz as Swayze Tracy Letts as Jack J.
Simmons . Watch the new trailer for Ghostbusters: From Beyond in theaters next summer". Empire Movies' official Facebook.
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May 18, Archived from the original on August 13, Retrieved August 13, Reitman said this solved issues with the last act by giving the characters personal stakes in the events.
John Candy was offered the role of Louis Tully. Reitman recalled it was a few days before Candy called him back to say he did not understand the character.
Candy suggested portraying Tully with a German accent and multiple German Shepherds , but the filmmakers felt there were already enough dogs in the film.
They and Candy passed on the casting. Reitman was already aware of Rick Moranis from their work together in Toronto and sent him the script.
He called Reitman back about an hour later and accepted the part, saying he understood the character completely. As she arrived for her first day of filming, Reitman rushed Potts into the current scene.
She quickly changed out of her street clothes and borrowed a pair of glasses worn by the set dresser. Her character ended up wearing the glasses throughout the film, provided to her by the dresser before each scene.
William Atherton was chosen for the role of Walter Peck after appearing in the Broadway play Broadway alongside SNL alumna Gilda Radner.
The role was described to Atherton as akin to Margaret Dumont 's role as a comedic foil to the Marx Brothers. I have to be outraged. Reubens passed on the idea, and it went to Yugoslavian actress Slavitza Jovan.
The role changed to one inspired by the androgynous looks of Grace Jones and David Bowie. On a separate day, the crew drove around the city filming spontaneous scenes at iconic locations, including one shot at Rockefeller Center where the actors were chased off by a real security guard; it appears in the film.
This prompted associate producer Joe Medjuck to contact the studio urging them to secure permission to use the word as the title. Filming on location in New York lasted for about six weeks, finishing just before Christmas.
In the early s, many saw the city as synonymous with fiscal disaster and violence, and Los Angeles was seen as the center of the entertainment industry.
In a interview, Reitman said he chose New York because "I wanted the film to be…my New York movie. The building at 55 Central Park West served as the home of Weaver's character and the setting of the Ghostbusters' climactic battle with Gozer.
The art department added extra floors and embellishments using matte paintings , models, and digital effects to create the focal point of ghostly activity.
This affected traffic across a large swath of the city. Gross remarked that, from the top of the building, they could see traffic queuing all the way to Brooklyn.
At various points, a police officer drew his gun on a taxi driver who refused orders; in a similar incident, another officer pulled a driver through his limo window.
When angry citizens asked Medjuck what was being filmed, he blamed Francis Ford Coppola filming The Cotton Club.
Aykroyd encountered science-fiction writer Isaac Asimov , a man he admired, who complained: "You guys are inconveniencing this building, it's just awful; I don't know how they got away with this!
The Irving Trust Bank on Fifth Avenue served as the bank where Aykroyd's character takes out a third mortgage to provide the Ghostbusters' startup money.
Filming moved to Los Angeles, resuming just after Christmas and before the New Year. Location scouts searched for buildings that could replicate the interiors of buildings being filmed in New York.
Interior firehouse shots were taken instead at the decommissioned Fire House No. The building design, while common in New York, was a rarity in Los Angeles.
An archival photograph of an active crew in Fire House No. As the film used practical effects, they needed skilled technicians who resided mainly in the city, and soundstages that, at the time, were non-existent in New York.
The stacks were destroyed in a fire, and the area now serves as space for storage and shipping. The short production schedule and looming June 8, release date meant that Reitman was editing the film while shooting it.
There was often time for only a few takes. As Gross described it: "[Y]ou storyboard in advance, that's like editing in advance.
You've got a scene, they're going to approve that scene, and we're going to spend nine months doing that cut. There's no second takes, no outtakes, there's no coverage.
You can cut stuff, but you can't add stuff. It made him Reitman so confined that it really bothered him. One of the deleted scenes involved a segment at "Fort Detmerring" where Aykroyd's Ray has a sexual encounter with a female ghost.
The scene was intended to introduce a love interest for Aykroyd. The feeling was it was extraneous to the fast-moving plot, however, so Reitman used the footage as a dream sequence during the mid-film montage instead.
They not only allowed him to make changes, but he considered they also helped him understand how to better pace the film.
Kahn completed the first full cut of the film three weeks after filming concluded. The Ghostbusters score was composed by Elmer Bernstein and performed by the person Hollywood Studio Symphony orchestra at The Village in West Los Angeles, California.
It was orchestrated by Bernstein's son Peter and David Spear. He was hired before filming had begun or all the cast had been signed.
He did not want the music to tell the audience when something was funny. Bernstein had to bring a musician from England to play the instrument because there were so few trained ondists.
He also used three Yamaha DX7 synthesizers. He found it a challenge to balance the film's varying comedic and serious tones. He created an "antic" theme for the Ghostbusters he described as "cute, without being really way out.
Early on Reitman and Bernstein discussed the idea that Ghostbusters would feature popular music at specific points as well as Bernstein's original score.
This included "Magic" by Mick Smiley, which plays during the scene when the ghosts are released from the Ghostbusters headquarters.
Bernstein's main theme for the Ghostbusters was later replaced by Ray Parker Jr. Music was required for a montage in the middle of the film, and " I Want a New Drug " by Huey Lewis and the News was used as a temporary placeholder because of its appropriate tempo.
Reitman was later introduced to Parker Jr. During the film's thirteen-month production, all the major special effects studios were working on other films.
The remaining studios were too small to work on the approximately individual effects shots needed for Ghostbusters. At the same time, special effects cinematographer Richard Edlund planned to leave ILM and start his own business.
Edlund previously worked on the supernatural horror film Poltergeist It served as a reference for the ghost designs in Ghostbusters.
Gross said it was difficult to balance making the ghosts seem like a genuine threat while fitting the film's more comedic tone.
The day before his deadline, Johnson learned Aykroyd and Ramis had wanted Slimer to be an homage to John Belushi's likeness.
With that information and a series of Belushi headshots, Johnson took at least three grams of cocaine and believed that Belushi's ghost was visiting him to provide encouragement.
It was during this episode that he sculpted the final Slimer design that appears in the film. Smaller, egg-size models were made for less animated movements like flying around the ceiling of the Sedgewick Hotel ballroom.
Aykroyd tasked his friend, referred to as the Viking, with designing the Marshmallow Man, asking for a combination of the Michelin Man and the Pillsbury Doughboy in a sailor hat.
There were three different heads for the suit, built from foam and fiberglass, with different expressions and movements controlled by cable mechanisms.
The costume was filmed against scale models to finish the effect. The effects team were able to find only one model of a police car at the correct scale.
They bought several and modified them to represent different vehicles. The water from a burst hydrant hit by a remote-controlled car was actually sand as the water did not scale down.
The cream acted as a skin irritant after hours of filming, giving some of the cast rashes. Johnson also sculpted the Zombie Cab Driver puppet.
Johnson based it on a reanimated corpse puppet he had made for An American Werewolf in London These had to be collected and reassembled for each take.
Reitman used a multi-camera setup to focus on the librarian and the cards flying around her and a wider overall shot.
Randy Cook was responsible for creating the quarter-scale stop-motion puppets of Gozer's minions Zuul and Vinz, the Terror Dogs, when in motion.
The model was heavy and unwieldy. It took nearly thirty hours to film it moving across a foot stage for the scene where it pursues Louis Tully across a street.
A rubber door was used to allow distortion as if something was trying to come through it, while grips concealed in a trapdoor beneath the chair, burst through it while wearing demonic dog-leg gloves.
It took up to three weeks to create a second of footage. Hardware consultant Stephen Dane was responsible for designing most of the Ghostbusters' iconic equipment, including the "proton packs" used to wrangle ghosts, ghost traps, and their vehicle, the Ectomobile.
The equipment had to be designed and built in the six weeks before filming began in September It was highly machined but it had to look off-the-shelf and military surplus.
Following Reitman's tweaks to the design, on-screen models were made from a fiberglass shell with an aluminum backplate bolted to a United States Army backpack frame.
Gaspar used rubber molds to create identical fiberglass shells  The neutrino wand had a flashbulb at the tip, giving animators an original point for the proton streams.
The Ectomobile, was in the first draft of Aykroyd's script, and he and John Daveikis developed some early concepts for the car. Dane developed fully detailed drawings for the interior and exterior and supervised the transformation of the Cadillac Miller-Meteor ambulance conversion into the Ectomobile.
It also had fantastic features such as the ability to dematerialize and travel inter-dimensionally. Two vehicles were purchased, one for the pre-modification scenes.
In the script, Aykroyd described the Ghostbusters clothing and vehicle as bearing a No symbol with a ghost trapped in it, again crediting his friend the Viking with the original concept.
Gross, who had volunteered to serve as art director for the film. As the logo would be required for props and sets, it needed to be finalized quickly, and Gross worked with Boss Film artist Brent Boates who was also working as a creature design consultant for the film.
According to Gross, two versions of the logo exist, with one having "ghostbusters" written across the diagonal part of the sign.
Gross did not like how it looked and flipped the diagonal bar to read top left to bottom right instead, but they later removed the wording.
According to Gross, this is the correct version of the sign that was used throughout Europe. The bottom left to top right version was used in the United States as that was the design of the No symbol there.
Medjuck also hired John DeCuir as production designer. It was one of the largest constructed sets in film history and was surrounded by a degree cyclorama painting.
The lighting used throughout the painting consumed enough power the rest of the studio had to be shut down, and an additional four generators added, when it was in use.
The first three floors and street-front of Dana's building were recreated as sets for filming, including the climactic earthquake scene where hydraulics were used to raise broken parts of the street.
When people went home early in the evening everything was normal, and when the little old ladies came out to walk their dogs in the morning, the whole street had erupted.
Apparently, people complained to the New York Police Department and their switchboard lit up. The film was first screened for test audiences on February 3, , with unfinished effects shots to determine if the comedy worked.
Even at this point, Reitman was still concerned audiences would not react well to the Marshmallow Man because of its deviation from the realism of the rest of the film.
It was during the opening librarian scene that Reitman knew the film worked. Audiences reacted with fear, laughs, and applause as the Librarian Ghost transformed from a lady into a monster.
Price recalled laughing as the rest of the audience sat deadpan, rationalizing that an industry audience wants failure.
In the months before its debut, a teaser trailer was released focused on the "No ghosts" logo, helping the icon to become recognizable far in advance, and generating interest in the film without mentioning its title or its stars.
The premiere of Ghostbusters took place on June 7, , at the Avco Cinema in Westwood, California. It became the second highest-grossing film of the year behind Indiana Jones and the Temple of Doom.
The film briefly regained the number one spot the following week before spending the next five weeks at number two, initially behind Red Dawn and then the thriller Tightrope.
It began a gradual decline and fell from the list of the top ten grossing films by late October. It left cinemas in early January after thirty weeks.
Ghostbusters opened to generally positive reviews. Ebert noted the effects existed to serve the actors' performances and not the reverse, saying it is "an exception to the general rule that big special effects can wreck a comedy.
He was critical of Hudson's late addition to the plot as Winston Zeddemore and the character's lack of development, saying it makes "him appear as only a token box office lure.
Richard Schickel similarly praised Murray, and the grace of Aykroyd and Ramis in allowing Murray to outshine them. Schickel considered Murray's character Peter Venkman a "once-in-a-lifetime opportunity to develop fully his patented comic character.
Ultimately he believed praise was due to all involved for "thinking on a grandly comic scale. Kehr said Reitman is adept at improvisational comedy, but lost control of the film as the special effects gradually escalated.
Arthur Knight appreciated the relaxed style of comedy saying while the plot is "primitive," it has far more style and finesse than would be expected of the creative team behind Meatballs and Animal House.
He singled out editors Sheldon Kahn and David Blewitt for creating a sustained pace of comedy and action. Travers appreciated how Murray, Aykroyd, and Ramis worked together.
Joseph Gelmis described the Ghostbusters as an adolescent fantasy, comparing their firehouse base to the Batcave with a Fireman's pole and an Ectomobile on the ground floor.
He said the film works as a collaborative effort by the three main Ghostbusters, particularly Murray, who dismisses the serious situations to keep them comedic.
He felt they reached for more creative humor and genuine thrills instead. Hicks singled out Murray saying he "has never been better than he is here.
On a more critical note, Janet Maslin said that Murray's talents were in service to a film lacking wit or coherence. She noted many of the characters had little to do, leaving their stories unresolved as the plot began to give way to servicing the special effects instead.
For Maslin, Ghostbusters worked during the small ghost-catching scenes, but was out of hand during the apocalyptic finale. However, she did praise Weaver's performance as an "excellent foil" for Murray.
Variety also singled out Murray for his "endearing" physical comedy and ad-libbing. She praised Murray, but felt that other actors did not have much material to contribute to the story; she concluded, "Murray's lines fall on dead air.
Ghostbusters was nominated for two Academy Awards in : Best Original Song for "Ghostbusters" by Ray Parker Jr. Ray Parker, Jr.
It spent a total of 21 weeks on the charts. Brown , Jeffrey Tambor , George Wendt , Al Franken , Danny DeVito , Carly Simon , Peter Falk , and Teri Garr.
None of the actors were paid for participating, but did so as a favor to Reitman. According to Parker, Jr. Regarding his case against Lewis, Parker, Jr.
They alleged the Ghostbusters logo was based on their character Fatso. The case was decided in Columbia's favor.
Murray left acting for four years following the release of Ghostbusters. He described the film's success as a phenomenon that would forever be his biggest accomplishment and, compounded by the failure of his personal project The Razor's Edge , he felt "radioactive".
Aside from a bit-part in Little Shop of Horrors , Murray chose to avoid making movies until when he appeared in the Christmas comedy film Scrooged.
Hudson for his part looked on the film fondly and with lament. He regretted the marginalization of his character from the original script, as many of Winston's major scenes were passed to Murray.
He felt Ghostbusters did not improve his career as he had hoped, or been promised, and in some cases, it had cost him roles. Hudson turned to television after Ghostbusters appearing in several shows.
He considered his experience had taught him how to adjust when things did not go his way. External Reviews. Metacritic Reviews. Photo Gallery.
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