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WHEN GHOSTBUSTERS: Afterlife reached cinemas, the franchise was a proton blast away from being trapped and tossed into the basement for another 30 years. Paul Feig’s female-fronted reboot in 2016 had disappointed at the box office, and no one knew whether that misfire would haunt Afterlife as it tried to win back audiences by bringing back the original ’Busters.
“With Afterlife, [director] Jason [Reitman] and I felt, both in conceiving and writing it, and then watching that film come to life, that it was like finding a rusty old proton pack wrapped in a cloth in the garage and having to dust it off, turn it on, and see if it still fires,” co-writer Gil Kenan tells SFX.
“A lot of that film was about tapping into the original spark of inspiration for Ghostbusters and rekindling it, both in terms of new characters and audiences, so that same magic could be brought back into focus on the screen. That was the goal, and we’re immensely proud of the characters that were brought to the screen.”
The result was a resounding success, not only financially and critically but with the franchise’s fans, who approved of the creative team’s choice to focus on Egon Spengler’s family as they reckoned with the founding Ghostbuster’s history of spirit-hunting.
“Afterlife was introducing the world to the Spengler family and to the idea that Ghostbusters could be a going concern into the 21st century,” Kenan continues. “But that was laying the groundwork for a world of storytelling. Now the toys are laid out on the floor, ready to be played with.”
EVOLUTION
Diese Geschichte stammt aus der March 2024-Ausgabe von SFX UK.
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Diese Geschichte stammt aus der March 2024-Ausgabe von SFX UK.
Starten Sie Ihre 7-tägige kostenlose Testversion von Magzter GOLD, um auf Tausende kuratierte Premium-Storys sowie über 8.000 Zeitschriften und Zeitungen zuzugreifen.
Bereits Abonnent? Anmelden
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IN JUST TWO SEASONS OF SHOWTIME'S HIT HORROR series Yellowjackets, there's been a catastrophic plane crash, a wild wolf attack, several affairs, a lot of murders and two cannibalistic feasts.
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THE \"DOOR TO HELL\" IS THE UNLIKELY SETTING FOR ROMANCE IN THE GORGE. DIRECTOR SCOTT DERRICKSON EXPLAINS HOW HE MASHED MULTIPLE GENRES TOGETHER FOR HIS VALENTINE'S DAY ACTION-HORROR
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Charlie Cox talks wearing the horned cowl again...
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AFTER A TUMULTUOUS PRODUCTION, DAREDEVIL FINALLY RETURNS FOR HIS OWN SERIES. SFX MEETS THE TEAM BEHIND BORN AGAIN...
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Vincent D'Onofrio on Wilson Fisk's terrifying rise to power
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New sorcerer supreme Victor von Doom casts a spell on the Marvel Universe in One World Under Doom
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THE CREATORS OF THE POOHNIVERSE ARE BACK TO TWIST MORE CHILDHOOD TALES WITH PETER PAN'S NEVERLAND NIGHTMARE
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THE MONKEY
OZ PERKINS MARCHES TO THE BEAT OF HIS OWN DRUM IN STEPHEN KING ADAPTATION
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Invincible's executive producers promise a dark season of growth and angst
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PART OF YOUR WORLD
IMAGINE IF IN HANS CHRISTIAN Andersen's The Little Mermaid, when its heroine is asked to trade in her voice for legs so she can woo her mortal infatuation on shore, she simply barked back: