Issue link: https://digital.copcomm.com/i/1449234
G H O S T B U S T E R S : A F T E R L I F E | P E R S P E C T I V E 4 3 technique." But inherent in my design approach is a belief that enhancement of tangible moments that are captured for real can help elicit a specific emotional response from the audience, which is, after all, what we are all trying to do when telling stories. With this mantra to re-discover the original formula, I tracked down John DeCuir Jr., who served as Art Director on the film under his father, legendary Production Designer John DeCuir Sr. John was delighted to inspire me with an explanation of his father's "design magic," and explained how the "Ghost Central" set at 550 Central Park West served as a visual anchor in the film. It was so weighty that it became a sort of "uncredited actor." The legendary set was elevated by his father's discerning eye for design, and his impeccable draftsmanship, brought to life by the very best Hollywood craftsmen and women working at the time. Jason's screenplay brilliantly envisaged that Ivo Shandor, the oscreen sadistic architect of Ghost Central, had lived in Summerville, Oklahoma, for a time during the 1930s, where he and his followers built an underground temple to the evil Gozer. It was an exhilarating design task to expand Shandor's backstory and imagine a timeline that could be infused into the story's fictitious town of A. LIKE ALL KEY LOCATIONS IN THE MOVIE, THE LOCATION FOR EGON'S FARMHOUSE WAS SCANNED AS PHOTOGRAMMETRY AND THEN BUILT AS FULL-TEXTURED AND INTERACTIVE MODEL IN BLENDER BY BILL IVES. THIS ENABLED THE DIRECTOR, PRODUCTION DESIGNER AND CINEMATOGRAPHER TO CAREFULLY ORIENT THE SCENERY AND COMPOSE KEY SHOTS