GB Anecdotes from an Armchair Historian: Proton Pack and Neutrona Wand

[d_osborn]

Previously posted on Spengler’s 1984 Workbench Facebook Group on Feb 8, 2022.

Visuals- Ghostbusters Prop concepts and inspiration — The Ghostbusters Reference Library

This was inspired by Dan and Austin’s The Black Firehouse Podcast: Session 5, the boys spinning yarns about the spectral-battling props that have captivated us all over the years. Here’s a bit more history on the Proton Pack and Neutrona Wand that I’ve picked up throughout my two decades of research.

A common misnomer is that the wrist wands were Aykroyd’s original wand idea. Not so. Uncle Danny’s own personal notebook sketches for the wands are a bit more like the ATC Proton Pistols, with interchangeable tip attachments. I love the belt track and the tri-hose ideas!

Dan’s original script unfortunately hasn’t surfaced, and none of the available John Daveikis art illustrates his ideas for the pack/wand designs. Aykroyd also made a self-produced video for his Ghostbusters pitch material that featured him explaining the process of ghost busting while wearing home-brew gear. The original GB builder and cosplayer! I’m still bummed this video hasn’t surfaced. The pitch material is my white whale holy grail.

Ivan touched on prop design in my 5-hour assembly edit of the Cleanin’ Up the Town documentary. Loosely paraphrased-- In Dan’s script, the Ghostbusters were already a widely established service, and had been for quite some time. The gear reflected this— way more refined, slicker engineering, brushed metal, something like industrial cleaning equipment.

For his version, Ivan wanted the Ghostbusters in then-present day. He wanted the gear to be more home-made, cobbled together prototypes of the futuristic gear that Aykroyd had imagined. Something a few dudes could conceivably build in 1983 Manhattan.

The wrist throwers are from the collaborative script drafts, once Harold and Ivan officially signed on. The jury is still out on the June “Martha’s Vineyard” script, but the wrist throwers are present as of the July 83 draft.

The design change from dual wrist throwers to the single, eventually more gun-inspired design wasn’t an aesthetic choice. The issue of the beam FX and deadlines are what drove the shift.

During pre-production, the wizards at BOSS Films were trying to save time wherever they could. Dropping FX-heavy sequences not needed for the story, accomplishing as much in-camera as possible, etc. Every choice was made with the deadline in mind.

With each Ghostbuster having two streams, the animation time required for each shot could be cut in half if they went with a single stream for each GB instead. Visual FX Director John Bruno (pictured in the beam concept composite) suggested the change and new thrower designs were started. Bruno’s only request was that there be lights in the tip to help sell the composited FX.

The iconic Neutrona wand design from Stephen Dane was approved by Ivan, and Dane started on the mockup. If you haven’t read it, the Dane interview from Beyond the Marquee is a must: Beyond the Marquee: The Web-Series (Episode 70) – The GHOSTBUSTERS Ecto-1 Car and Designer Stephen Dane | BEYOND THE MARQUEE

The “prop builders” Dane referred to was special effects wizard Chuck Gaspar and his team. After hearing stories of Gaspar’s work, I’m convinced Chuck was the mad scientist behind the electronics, pop mech, etc. He sadly passed away in 2016.

Stephen Dane, 2014

“The backpacks were always in play script-wise. Ivan and I had an early conversation and he told me what he wanted. I then drew up some rough sketches based off flamethrowers I had seen in a few military magazines. Once I had a basic idea and shape, I went out and got a pack frame from California Surplus on Santa Monica and Vine in Hollywood."

"I ended up building a rough mock-up based on what we had discussed and what was in my early designs. I presented the backpack mock-up to Ivan and we further talked about refinements and from there it went to the prop builders.”

“I can’t recall who supervised the final building pass on the Proton Packs, the Neutrino Wand and the Ghost Traps. I was mainly involved in buying parts and guiding the prop fabricators in constructing several of the early mock-up designs. Even the finished Proton Packs seen on screen had a rough surface on close-up inspection since there wasn’t enough time to make them perfect and smooth. The prop builders did a great job of building the screen-used Proton Packs considering they had to build several packs and wands in such a short amount of time. As rough as the backpacks were up-close, the Neutrino Wand was very nicely detailed and you can see that in the film. I can see detailing that I don’t recognize as my own.”

[one-time]

Wow awesome post! Thank you so much for this info.

I can’t believe the coincidence. I was working on a post like this trying to figure it out just as you were making this one!

Check my post:

History of the evolution and functionality of the Proton Pack (Stephen Dane &...

I love seeing how Aykroyd’s designs are very “ray gun” or 50’s and 60’s inspired designs. Then it seems like a new “wave” of changes occured when people actually went out and started looking at real world parts to scavenge. With the designs becoming more industrialized, blocky, square, etc. like I detail in my thread. Almost as if they thought “what real world objects can we use as inspiration to base the design language on”.

I wish S.D. were still with us.

[RichardLess]

@d_osborn post_id=4974348 time=1668026460 user_id=21

Previously posted on Spengler’s 1984 Workbench Facebook Group on Feb 8, 2022.

Visuals- Ghostbusters Prop concepts and inspiration — The Ghostbusters Reference Library

This was inspired by Dan and Austin’s The Black Firehouse Podcast: Session 5, the boys spinning yarns about the spectral-battling props that have captivated us all over the years. Here’s a bit more history on the Proton Pack and Neutrona Wand that I’ve picked up throughout my two decades of research.

A common misnomer is that the wrist wands were Aykroyd’s original wand idea. Not so. Uncle Danny’s own personal notebook sketches for the wands are a bit more like the ATC Proton Pistols, with interchangeable tip attachments. I love the belt track and the tri-hose ideas!

Dan’s original script unfortunately hasn’t surfaced, and none of the available John Daveikis art illustrates his ideas for the pack/wand designs. Aykroyd also made a self-produced video for his Ghostbusters pitch material that featured him explaining the process of ghost busting while wearing home-brew gear. The original GB builder and cosplayer! I’m still bummed this video hasn’t surfaced. The pitch material is my white whale holy grail.

Ivan touched on prop design in my 5-hour assembly edit of the Cleanin’ Up the Town documentary. Loosely paraphrased-- In Dan’s script, the Ghostbusters were already a widely established service, and had been for quite some time. The gear reflected this— way more refined, slicker engineering, brushed metal, something like industrial cleaning equipment.

For his version, Ivan wanted the Ghostbusters in then-present day. He wanted the gear to be more home-made, cobbled together prototypes of the futuristic gear that Aykroyd had imagined. Something a few dudes could conceivably build in 1983 Manhattan.

The wrist throwers are from the collaborative script drafts, once Harold and Ivan officially signed on. The jury is still out on the June “Martha’s Vineyard” script, but the wrist throwers are present as of the July 83 draft.

The design change from dual wrist throwers to the single, eventually more gun-inspired design wasn’t an aesthetic choice. The issue of the beam FX and deadlines are what drove the shift.

During pre-production, the wizards at BOSS Films were trying to save time wherever they could. Dropping FX-heavy sequences not needed for the story, accomplishing as much in-camera as possible, etc. Every choice was made with the deadline in mind.

With each Ghostbuster having two streams, the animation time required for each shot could be cut in half if they went with a single stream for each GB instead. Visual FX Director John Bruno (pictured in the beam concept composite) suggested the change and new thrower designs were started. Bruno’s only request was that there be lights in the tip to help sell the composited FX.

The iconic Neutrona wand design from Stephen Dane was approved by Ivan, and Dane started on the mockup. If you haven’t read it, the Dane interview from Beyond the Marquee is a must: Beyond the Marquee: The Web-Series (Episode 70) – The GHOSTBUSTERS Ecto-1 Car and Designer Stephen Dane | BEYOND THE MARQUEE

The “prop builders” Dane referred to was special effects wizard Chuck Gaspar and his team. After hearing stories of Gaspar’s work, I’m convinced Chuck was the mad scientist behind the electronics, pop mech, etc. He sadly passed away in 2016.

Stephen Dane, 2014

“The backpacks were always in play script-wise. Ivan and I had an early conversation and he told me what he wanted. I then drew up some rough sketches based off flamethrowers I had seen in a few military magazines. Once I had a basic idea and shape, I went out and got a pack frame from California Surplus on Santa Monica and Vine in Hollywood."

"I ended up building a rough mock-up based on what we had discussed and what was in my early designs. I presented the backpack mock-up to Ivan and we further talked about refinements and from there it went to the prop builders.”

“I can’t recall who supervised the final building pass on the Proton Packs, the Neutrino Wand and the Ghost Traps. I was mainly involved in buying parts and guiding the prop fabricators in constructing several of the early mock-up designs. Even the finished Proton Packs seen on screen had a rough surface on close-up inspection since there wasn’t enough time to make them perfect and smooth. The prop builders did a great job of building the screen-used Proton Packs considering they had to build several packs and wands in such a short amount of time. As rough as the backpacks were up-close, the Neutrino Wand was very nicely detailed and you can see that in the film. I can see detailing that I don’t recognize as my own.”

Again…this movie had so many almost terrible choices made that would fundamentally alter the awesomeness of the film we know and love today. The original proton pack dual wand idea being a big one.

The proton pack is a great design. Anything that you can make out automatically in silhouette is usually a pretty good design concept.

There’s only one idea from this movie that I think they made a mistake of not doing, the rest are all the perfect choices. Which is so rare. Usually movies of this sort with this amount of design work involved, there’s concepts you’re like “Why didn’t they do that??”

The only thing I think they made a mistake on was not having the library ghost scream “QUIET” as in the script. I also think the finished film holds onto the library ghost for a few too many frames & that’s probably due to the rest of the transformation not being utilized.

Once again, thanks for sharing!

[one-time]

@d_osborn post_id=4974348 time=1668026460 user_id=21

Ivan touched on prop design in my 5-hour assembly edit of the Cleanin’ Up the Town documentary.

WOW! There is a 5hr cut of this? Where can we see it?

[one-time]

@RichardLess post_id=4974358 time=1668037408 user_id=47215

There’s only one idea from this movie that I think they made a mistake of not doing, the rest are all the perfect choices.

If it was up to me I’d choose something else. I know they changed the Ecto one to make it possible to film. The original car was a 1975 Cadillac Full Formal Excelsior Ambulance matte black with flashing white and purple strobe lights that gave it a strange, ultraviolet aura. They made it white because it would have been very hard to film at night in black. The screen used version color wise looks a bit too cute or normal looking ambulance to me. The original idea was so much cooler in my view.

[kingpin]

@One time

The screen used version color wise looks a bit too cute or normal looking ambulance to me. The original idea was so much cooler in my view.

The white/blue/red colour scheme is kooky and lighthearted enough to work with the version of Ghostbusters that came to be. The car, like the team, is a little bit larger than life.

The black/purple design would’ve been too serious, too sombre… And as noted, too impractical to film.

[RichardLess]

@One time

@RichardLess post_id=4974358 time=1668037408 user_id=47215

There’s only one idea from this movie that I think they made a mistake of not doing, the rest are all the perfect choices.

If it was up to me I’d choose something else. I know they changed the Ecto one to make it possible to film. The original car was a 1975 Cadillac Full Formal Excelsior Ambulance matte black with flashing white and purple strobe lights that gave it a strange, ultraviolet aura. They made it white because it would have been very hard to film at night in black. The screen used version color wise looks a bit too cute or normal looking ambulance to me. The original idea was so much cooler in my view.

Oh man. I’ve heard of “hot takes” but this one is nuclear! “Too cute” eh? Interesting. I don’t think I’ve heard that before. Wow.Tho I gotta say, I couldn’t disagree more. I think the black design is aesthetically unappealing. It’s too “blues mobile”. In my opinion anyways.

The white with red fins gives the Ecto such a nice contrasty look. And she’s fat. Nice & plump lady, and not angular like the ‘75 car. It fits with the schlubby blue collarness. You’ll notice, whether coincidence or not, lots of the designs are like that in the movie. From the cyclotron to Slimer, Mr. Stay Puft, the barrel chested Terror Dogs. There’s unconscious design philosophy at work & the angular lines of the ‘75 car messes with that.

Plus I think the ‘75 car would ruin the joke. Ray paid 4,800 for a car from 1959 that needs everything replaced. If Ray pulls up with an 8 year old car…suddenly that joke doesn’t play.

There’s just something about that car, the ‘59 caddy, that is so perfect. Again, the movie makers just happen to make the right call. I can’t look into the alternate dimension where the car is painted black & a different model is used but somehow I don’t think the car becomes as iconic. There’s just something about that white on red, fat looong look. Like the Delorean & Back to the Future, if anyone sees one of these cars or it’s relatives out in the wild but with its original paint scheme, I guarantee that person thinks of Ecto 1. It’s become synonymous with Ghostbusters.

[one-time]

@RichardLess post_id=4974388 time=1668152710 user_id=47215

Oh man. I’ve heard of “hot takes” but this one is nuclear! “Too cute” eh? Interesting. I don’t think I’ve heard that before. Wow.Tho I gotta say, I couldn’t disagree more. I think the black design is aesthetically unappealing. It’s too “blues mobile”. In my opinion anyways.

The white with red fins gives the Ecto such a nice contrasty look. And she’s fat. Nice & plump lady, and not angular like the ‘75 car. It fits with the schlubby blue collarness. You’ll notice, whether coincidence or not, lots of the designs are like that in the movie. From the cyclotron to Slimer, Mr. Stay Puft, the barrel chested Terror Dogs. There’s unconscious design philosophy at work & the angular lines of the ‘75 car messes with that.

Plus I think the ‘75 car would ruin the joke. Ray paid 4,800 for a car from 1959 that needs everything replaced. If Ray pulls up with an 8 year old car…suddenly that joke doesn’t play.

There’s just something about that car, the ‘59 caddy, that is so perfect. Again, the movie makers just happen to make the right call. I can’t look into the alternate dimension where the car is painted black & a different model is used but somehow I don’t think the car becomes as iconic. There’s just something about that white on red, fat looong look. Like the Delorean & Back to the Future, if anyone sees one of these cars or it’s relatives out in the wild but with its original paint scheme, I guarantee that person thinks of Ecto 1. It’s become synonymous with Ghostbusters.

I love the final Ecto. I’m a big fan of Dan Aykroyd, and his fathers books, etc. I’m interested in how he formed the idea. Before calibration and fine tuning into a successful movie. Personally I like the gritty side of GB1, the “realistic” side, if one can even use that word in a movie about ghosts, more than say things like Stay Puft.

How Christopher Nolan’s The Dark Knight focused on the dark, grim, intense, and serious tone of Batman as opposed to the elements of fun or fantasy that came before. A part of my mind wonders if Aykroyds original vision was a “darker” comedy. And those specific things Aykroyd mentions (like the model and color car he intended originally) give a glimpse into that “other reality”.

Thinking about it more, I agree that you can’t take one element of GB and change it without repercussion. It’d be an entirely different movie, probably not even called Ghostbusters. Heck, forget individual scenes not working (like the price of the car), much more fundamental things wouldn’t have worked. On a black version of the car, the current logo doesn’t even work, it’s too bright, etc.

Maybe one day we get a comic series or something like this:

Google: “How Ghostbusters Finally Made Dan Aykroyd’s Original Concept a Reality” (screenrant won’t accept linking)

But the thread went a little off topic. Sorry about that d_osborn. I went off on a tangent when Richardless mentioned one thing he’d change.