NOTE #1: All of the still photos used in the featurette have a horrible "dirt and hair" filter applied over them to make them look like aged film. In order to get the captures you see below of the still photos, I painstakingly went through the featurette frame-by-frame to pull out the least dirtiest frame of each photo. Then I did a minor amount of clean-up to most of them to remove even more "dirt". I wish that the producers of this featurette would have just left the still images "as is" without trying to get all fancy and creative.
NOTE #2: I was originally going to display the screen captures in the order seen in the featurette, but since some still images are used multiple times, and images from the same photo set are dispersed throughout, I decided to reorganize them to keep images from the same photo set together.

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CREDITS

Although these credits are listed at the end of the Ecto-1 featurette, I believe that they also apply to Slimer Mode and the Ecto-1 gallery, seeing as how most of the people in the Special Thanks section weren't in the Ecto-1 featurette.

Special Features Produced By JONATHAN STRAILEY BRANDON BESTENHEIDER ALLEN BEY Executive Producers HEATHER SERRANO TRACEY GARVIN Supervising Producer MARK ROPER Associate Producer ANDREW REIBER Researcher RANDY KAPLAN Editors JORDAN BEAL JIMMY CHOE TYLER EARRING Graphics MICHAEL BONNER

Post Production Supervisor BRITTANEY PARBS On-Line Editors JOHANNA MOYAL TOBIN PHILLIPS Post Production Audio MICHAEL QUALEY WARREN WOODS Special Thanks IVAN REITMAN DAN AYKROYD HAROLD RAMIS SIGOURNEY WEAVER ERNIE HUDSON RICHARD EDLUND JOHN BRUNO MICHAEL GROSS VIRGIL MIRANO CINEMA VEHICLE SERVICES 1959 Miller-Meteor Ambulance Ads courtesy of Miller-Meteor and its parent company ACCUBUILT, INC.

"GHOSTBUSTERS", The Video Game: TM & © 2009 Columbia Pictures Industries, Inc.
"GHOSTBUSTERS" with the "GHOST DESIGN" is a registered trademark of Columbia Pictures Industries, Inc.
"GHOSTBUSTERS", and "GHOSTBUSTERS 2" movies: © 1984, © 1989 Columbia Pictures Industries, Inc.
Game Software excluding Columbia Pictures Elements: © 2009 Atari Interactive, Inc.
Atari and the Atari logo are trademarks
owned by Atari Interactive, Inc. All rights reserved.

Scenes from "Ghostbusters" provided courtesy of Columbia Pictures.
© 1984 Columbia Pictures Industries, Inc. All Rights Reserved.

Copyright © 2008 by Sony Pictures Home Entertainment Inc. All Rights Reserved.
Country of First Publication: United States of America.
Sony Pictures Home Entertainment Inc. is the author of this motion picture
for purposes of the Berne convention and all national laws giving effect thereto.

This motion picture is protected under laws of the United States and other countries.
Unauthorized duplication, distribution or exhibition may result in civil liability and criminal prosecution.

[New Wave Entertainment logo]

© 2008 Sony Pictures Home Entertainment

This is the full text transcript of everything that was said in this featurette. The transcription was done using computer software reading the subtitle track from the GB1 & GB2 4K UHD & Blu-Ray 5-Disc Set. IT HAS NOT BEEN CHECKED FOR ERRORS OR PROPERLY FORMATTED. IF YOU WOULD LIKE TO DO THAT, FEEL FREE TO E-MAIL ME.

NAME: I remember the satisfaction in finding the hearse.

The big steering wheel and the big cabin.

And, of course, we had our fun with it. Driving it around.

[Hargrove] ECTO is just this great character in the film.

It's funny, it's sci-fi. It's cool. It's nostalgic.

And we had this vision of getting ECTO-1 totally refurbished.

You can restore any kind of vehicle.

But to have something like ECTO, you don't get that opportunity every day.

The ECTO is certainly a piece of Hollywood history.

You want it to look its best.

And when somebody like Mr. Aykroyd's gonna visit us,

you're gonna want the customer to be 100% happy.

One of the interesting things when starting the refurbishment piece,

was realizing that ECTO-1 really is the genesis of Dan.

He knew that there was this car he had in mind.

Dan is so technical.

His script would describe things in exact detail.

And he got a friend of his to do illustrations with the script.

The car, originally, was black

with all kinds of really black, electronic, brushed boxes on it.

And deep purple lights and everything.

And we'd paint it up and bring it out as follows.

This was a lighter and brighter paint scheme.

You can see that we made the right decision there.

Dan had always wanted to have an old, used ambulance as the basis for the Ectomobile.

And that just seemed so funny, and so right for the movie.

'Cause it kinda looks a bit clown car, I mean, and--

You know, we did have some great clowns in the picture.

We came, we saw, we kicked its ass!

[Claridge] Car's based on a '59 Cadillac, Series 62.

Miller-Meteor built those cars

for ambulance and hearse setups.

[Hargrove] You go back to 1959,

the car designers at the time wanted to make this car look like it could fly.

It has elongated tail fins.

It's got a very big body, almost like a spaceship or an airplane.

We needed streamlining, be able to corner,

be able to go through tunnels in New York City.

But it also had to have the capacity to carry the four people.

And also just the level of equipment we had to carry.

They're heavy. They're not the best-handling cars in the world.

So some of the stuff that they put the car through in the show is pretty amazing

for the amount of weight that was in the car.

[siren blares]

[Hargrove] ECTO actually makes a great appearance.

It's probably one of my all-time favorite grand entrances in a film.

It's like a superhero tearing out of a phone booth.

You just can't get better than that big, barreling 1959 Cadillac chassis

rolling down the street with that siren blazing in wild colors.

[Aykroyd] Looking the way it did,

with its logo on the side, you had to smile, you had to laugh.

So it achieved what we wanted it to right away.

Over the past 25 years, it's been in parades, in theme park attractions.

Wherever that thing has ever been, it has been, just, an amazing appearance.

It has been a huge success.

So when we were deciding to relaunch Ghostbusters

as a major, next-gen video game,

we started realizing, "We gotta get ECTO-1 out on the road!"

And that's a great realization.

But, then, the next dawning was, "Yikes, it needs a lot of work!"

Needs some suspension work and shocks

and brakes, brake pads, linings, steering box, transmission, rear end.

I got a call from Keith Hargrove

asking me, "We wanna use ECTO in a promotional bit.

And we're thinking about, you know, clean the thing up real nice.

Make it look great."

I said, "We do that here."

[Hargrove] We knew that Cinema Vehicle Services had a background.

First time you visit their warehouse, it is an eye-opener.

You know, if you say, "I need 17 police cars from circa 1984,"

they have it. Or they'll build it.

And ECTO-1, we just felt like we had a perfect fit

and that's when the refurbishment process really took off.

[Salerno] The car came in.

It had been sitting for a long time.

The belts, hoses, fluids, carburetor, fuel tank, all the fuel lines,

most of the wiring had to be refurbished or replaced.

[Claridge] The body has had a lot of weathering over the years.

There's some rust issues that probably were inherent with that car

when they first bought it.

[Salerno] When we first started with ECTO,

we probably took 200 pictures from every angle.

Inside, outside, under the hood.

Every little-- Almost the screws, you know?

And, then, it really helps out when you're restoring a vehicle.

The basic premise of it was,

we wanted make, especially the exterior ECTO-1, as close to the original was.

We disassembled what we needed to on the exterior components

and we sent all the exterior components to our different departments.

To fabrication, electrical, had those parts gone through.

The very first time I got kinda scared was the day I got there,

and all the accessories had been lifted off the car, so it was just stripped bare.

And that was the day I realized to myself, "Well, there's no turning back now.

We have to refurbish this car because we just dismantled it."

[Salerno] The bodywork was pretty tough.

We replaced as much sheet metal as need be.

Sent the actual body of ECTO to our body shop.

Started primering it, sanding it.

Get it ready for paint.

Then it was time to put ECTO back together.

We end up restoring the light bars on the top of ECTO.

Replacing the lens. Polishing some lenses.

[Claridge] A lot of the old motor mechanisms, we had to upgrade them

and put newer motors in them.

And, then, I remember we ran that car for about a day and a half.

Literally about 12 hours a day.

Just to try get it to fail. And there were certain things that did fail.

But we wanted to make sure it was dependable.

[Salerno] While this process was going on, you know,

Sony's talking about giving us some audio-video components.

"You guys capable of doing that? Sure."

A few issues on the audio equipment that you and I have been talking about

is making sure, first of all, when we put it in, it doesn't look too out of place.

You know, we need to sneak it in strategically.

To where everyone doesn't go, "Hey, that wasn't a part of the original."

You know, so we wanna keep the asset pure.

They wanted to upgrade it a little bit.

But, there again, just not take away from the fact of what it was.

Instead of just plopping speakers where people would traditionally put 'em,

in the door panels, we're gonna hide them.

- We have a couple of hidden compartments.

- Okay. Places.

Because this was a combination hearse-ambulance body,

there was all these little side compartments and doors and everything.

And everything fit really cool into it.

Like, it just existed.

So it is actually something that just turned out perfectly.

Even the DVD audio-video system we put up in the upper compartment

where the divider panel is,

between the driver compartment and the rear compartment,

it's all hidden away.

So when you look in ECTO, it doesn't look like this thing's completely modified.

[siren blares]

The reaction you get having that car here is unbelievable.

Everyone that came here, if they had a glimpse of it, said,

"Oh, WOW, it's ECTO.

I wanna take a photo with it."

And it's like, "Oh, no, you can't."

[Claridge] As far as the fan aspect of it,

we were doing research on the cars, and I came across fan websites,

and it's kinda neat that these people build replicas of cars.

I'm all for that.

I couldn't believe how many different vehicles

that are being built out there.

I mean, it's like, they're into it!

[Hargrove] During the refurbishment

we started realizing that there were people out there that climb fences

and sneak into garages.

[Salerno] Basically, I felt like a detective.

I had to watch people coming in the shop.

I actually caught a couple guys with a camera.

Had to chase them all around.

But, I mean, that's how much attention that car gets.

Where you can get people trying to sneak in our shop taking pictures.

[Claridge] There's always stuff that comes up that you don't anticipate,

especially when you're working on a 40-year-old car.

It was a bit of a challenge

trying to find some old bits and gadgets

to restore some of the outside pieces,

'cause a lot of it was just handmade stuff.

We got stuff from all over the world.

The windshield came out of South Africa, if I'm not mistaken.

I was really worried that the chrome--

You're not gonna find too many chrome pieces that fit a 1959 Cadillac anymore.

And if you do,

it's probably gonna need an extensive amount of polishing and refurbishment.

Well, everything we did to ECTO, it was a little tricky.

But once you start putting all the chrome on it,

that's when you start seeing the car.

Then last, and least, is pretty much just the upholstery.

And the paintwork on it.

We polished up the gurney.

And we were able to do a lot of stuff with the electronics.

And you step back, and you look at it, and you go,

"That's cool.

Yeah. That looked good.

Yeah, that's nice."

[Hargrove] We started realizing, step by step, we were getting there.

We were actually getting closer.

[engine choking]

Great.

Oh, Well.

[Hargrove] We knew we sort of had a VIP coming.

And it wasn't just to drop by.

We knew that it was also an unofficial approval process of,

"How well did we do?"

-[Claridge] Sir.

-[Aykroyd] How do you do?

Mr. Aykroyd. Ray Claridge.

Ray, thank you so much for welcoming me to the gates of heaven.

Cinema Vehicle Services.

Only in Hollywood could you have a place like this.

There was a buzz around the shop

when the word got out that Dan Aykroyd would be here.

Everybody was coming up to me, "Oh, is that true?"

[Claridge] People that I have working for me,

a lot of them been here for a long time.

So, certainly, when somebody like Mr. Aykroyd's gonna visit us,

you know, it's a big boost for us.

There was a little anxiety, you know

getting to meet somebody that you used to watch as a kid.

And now I'm working on stuff that he's working on.

[Hargrove] Everything led up to that meeting.

And, so, there was an extra level of nervousness on my part.

I was like, "Is Dan gonna like this car?"

[Claridge] But let us show you what we did.

Well, look at that Cadillac!

First time you see the car on film, YOU 90,

"Wow, that's a big car. It's pretty impressive."

First time you see it in person, I mean, it is honking huge.

It's the prehistoric SUV.

Congratulations, first of all.

- Thank you.

- Come on. I mean, this is magnificent.

-It's been an endeavor of... joy.

- Thank you.

Oh, it's beautiful.

I'm sure he was surprised seeing the car from, you know, 25 years ago,

to now seeing it in a different state.

[Claridge] Well, when he first saw the car,

I think he was quite surprised at how much of the originality was still there.

And it shocked me of his knowledge, actually.

I mean, he knows a lot about those old Cadillacs.

Now, this, of course, is the '59 Cadillac.

Which was based upon either an M-M or Hass and Eisenhardt coach, I'm not sure.

- This one, I believe, is the M-M coach.

- M-M coach, yeah.

'50 had a little different fit.

But, I mean, not as positively, just, impaling.

But you've just flawlessly brought it back.

God, I'm glad I didn't have to pay for this.

Dan really is the tech wizard

and can talk about the car in levels that no one else can talk about the car.

Those are muon scrubbers up there.

- Okay. We had lost that in translation.

- Yeah. Yeah.

[Aykroyd] Everything on there has a reason, for sure.

There's the radio, GPS locator, there's high-intensity microphones, EMF scrubbers.

It was all related to the hardware needed to go out and do what we had to do.

Which was a dirty, dirty job.

Dr. Spengler had to miniaturize this for mobile purposes.

That's how brilliant Dr. Spengler was.

It was very tough to get it back up and running...

- I know.

-...since we didn't have the

schematics on it.

No, that's right. That's right.

[Hargrove] He had a backstory for every gadget.

And he wasn't making it up.

Theoretically, if you gave him enough time and enough money

he could make that stuff work.

Now, these condensers in here, I assume, are for these landing strobes.

These are aircraft landing strobes.

You really get that thing that it was not just another prop.

That it wasn't just something in their holster.

It was like a buddy that was along to ride for the filming.

[Aykroyd] Even when the camera wasn't working,

I think we took it for a few spins.

Murray and I went around the corner for a cigarette in it a couple of times.

I used to take naps in the back seat, there,

because you've got the jump seats and it was at the perfect length to stretch out.

We were in the back seat and he was looking at the DVD display of the movie.

And at that moment he was just a guy enjoying the movie and enjoying the car.

That it brings it all back again.

I'm so proud of the way it holds up. The film holds up really well.

Yeah, I think he wanted to, just for old times' sake, get in it and rev it up.

And drive it, and...

Just to bring back his memories, too.

[engine revs]

Sounds good.

- Cool.

- He was chomping at the bit, I think.

He jumped right in and fired it up.

Feels good, man.

So, we're gonna take this thing for a little cruise.

It's got that beautiful Cadillac motor.

I pushed it pretty hard driving it, you know?

Absolutely.

I've got some sparks out of it and leaned on it a little bit.

[engine revs]

Yeah, they got it running good.

[Hargrove] You know, just seeing him take off

and hearing him corner around a couple of corners.

It was like, "That was cool.

That was cool, watching those two get together again."

[Claridge] I think he'd have taken it home if he could've.

But it made it out and it made it back, so...

you know, ourjob was done.

[siren blares]

[Hargrove] As we were really getting close to the end of the refurbishment process,

you know, that was quite a journey.

There was a lot that we were impressed with with Cinema Vehicle Services.

We did this for the promotional value, of course.

But as the process kept going, we started realizing...

we're doing this really for the fans.

[Salerno] We put so much time and effort into the car.

It means a lotto me.

You know, seeing it finished, from when it first got here

to, you know, it leaving completed.

I'll have memories forever.

And having Dan Aykroyd come over, I mean, God.

That's something that, you know, I'll be telling my grandkids about for years.

You know, this is the real car.

And that's what was special to us.

If Sony would've come to us and said, "We wanna build three copies of the ECTO,"

you know, it'd have been another job.

But when you get to take a piece of Hollywood history and rebuild it,

and then a new generation of fans get to see it, that's special.

[Aykroyd] ECTO-1 really holds itself well up there

in the pantheon of movie vehicles.

The people who worked on the car were able to elaborate on it

to the magnificent stature that you see here.

I never thought I'd see it shined up and looking so good.

We're also gonna have to do a lot of work around the country.

But for ghostbusting, you can't beat it.