“They took the young version of Harold that they had created and then slowly aged him to the age that he would’ve been in the movie,” Reitman said. Jason Reitman on the Future of the ‘Ghostbusters’ Franchise: ‘I Want to See Ghostbusters Films From Other Voices’
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“They created a younger version of Harold and actually edited him into the 1984 ‘Ghostbusters’ to prove that they could do it, so that you would watch the movie and not know whether you were watching a virtual Harold or the original Harold from the film,” Reitman said. Zelcs created a “checkpoint” for along the way – they were going to create a younger, photoreal version of Harold Ramis as he appeared in the original film. “I knew what the project was meant to be for, but the specifics were still under wraps and it wasn’t until a bit later on that we got the project awarded that we saw the artwork and we knew exactly what the target was,” Zelcs said. Zelcs was part of a team called MPC Character Lab, who have worked on everything from digital humans like this (they also did the circa-1991 Arnold Schwarzenegger from “Terminator: Dark Fate”) to characters like Pikachu and Godzilla. ‘Ghostbusters: Afterlife’ Filmmakers Jason Reitman and Gil Kenan Sign Overall Deal With Sony Pictures Egon remained trapped in the foggy ether between worlds. (He also appears in the movie’s cold open, which establishes Egon’s demise and his existence as a shut-in in the middle of nowhere Oklahoma.) Harold Ramis’ version of the character hadn’t returned. “He’s this brilliant actor who came and performed the scene with the original guys, and he had to do the selfless thing of agreeing to be a part of a movie that you would never see him in,” Reitman said. Reitman hired Bob Gunton, the talented, 76-year-old character actor perhaps best known as the sadistic warden from “The Shawshank Redemption,” as the on-set Egon.
When production began on “Ghostbusters: Afterlife” in the summer of 2019 they already had an Egon. It’s just that this movie-ending hug turned out to be just as difficult and time consuming as any spaceship exploding, requiring artists and technicians in a variety of disciplines to come together with the same singular goal: to bring Egon, a character defined by his relationship with the paranormal, back from beyond the grave. “And a moment in which a granddaughter gets to meet her grandfather for the first time and a woman gets to forgive and embrace her father.” “The idea was about generational forgiveness and being able to say goodbye and to accomplish that, we were going to have to create an impossible moment on screen, a moment in which the four Ghostbusters stand next to each other one last time, a moment in which the original Ghostbusters get to say goodbye to Egon, who was my favorite Ghostbuster,” Reitman said.
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