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"In a report attributed to InFocus Magazine, and picked up by various outlets including Hollywood.com, actor-filmmaker Harold Ramis offered up some details on the long-in-development sequel, Ghostbusters 3: Hellbent. He even suggested who might take over as the star of the franchise since Bill Murray refuses to.
Ramis reportedly wants franchise vets Dan Aykroyd and Rick Moranis to reprise their respective roles in the sequel, which the report claims will be called Ghostbusters in Hell, but he has his eye on A-lister Ben Stiller to star as a new Ghostbuster.
The script, written by Aykroyd, is said to feature a hell that looks a lot like New York City. The Ghostbusters are able to be transported into hell via a portal in a New York warehouse.
"What Danny had originally conceived was sending us to a special-effects hell, a netherworld full of phenomenal visual environments and boiling pits," Ramis revealed. "But what works so well about the first two (films) is the mundane-ness of it all. So my notion was that hell exists in the same place as our consensus reality, but it's like a film shutter. It's the darkness between the 24 frames.
Ramis continued, "So we create a device to do it, and it's in a warehouse in Brooklyn. When we step out of the chamber, it looks just like New York, but it's hell. Everything's grid-locked; no cars are moving and all the drivers are swearing at each other in different foreign languages. No two people speak the same language. It's all the worst things about modern urban life, just magnified."
Ramis reportedly wants franchise vets Dan Aykroyd and Rick Moranis to reprise their respective roles in the sequel, which the report claims will be called Ghostbusters in Hell, but he has his eye on A-lister Ben Stiller to star as a new Ghostbuster.
The script, written by Aykroyd, is said to feature a hell that looks a lot like New York City. The Ghostbusters are able to be transported into hell via a portal in a New York warehouse.
"What Danny had originally conceived was sending us to a special-effects hell, a netherworld full of phenomenal visual environments and boiling pits," Ramis revealed. "But what works so well about the first two (films) is the mundane-ness of it all. So my notion was that hell exists in the same place as our consensus reality, but it's like a film shutter. It's the darkness between the 24 frames.
Ramis continued, "So we create a device to do it, and it's in a warehouse in Brooklyn. When we step out of the chamber, it looks just like New York, but it's hell. Everything's grid-locked; no cars are moving and all the drivers are swearing at each other in different foreign languages. No two people speak the same language. It's all the worst things about modern urban life, just magnified."
