Adam Savage Tours Ghostbusters: Afterlife’s Farmhouse Set!

hey guys adam savage here in my cave with a 
pretty special thing uh i got to spend a week   on the set of ghostbusters afterlife watching 
director jason reitman and his team of world   builders as they crafted the next chapter in 
the original ghostbusters universe holy hell   it was amazing um being on set watching this full 
crew of true ghostbuster fans as they brought the   story to life it was intoxicating um and the sets 
i the sets were so immersive and felt so real even   being in them one of the sceptic decorators gave 
me a detailed tour through the interior of their   farmhouse set which was also an exterior this is 
rarer than you think in a hollywood movie when   they that they dressed both the interior and 
the exterior of a building and then used both   for filming and they showed me how they found and 
crafted and placed every single piece of the set   to make the building feel both real and lived 
in and part of the genuine ghostbusters universe   i'm standing in the foyer of egon's farmhouse 
and this is a super cool set for a whole bunch   of reasons uh not least of which is that this 
is the interior of the one that's on the hill   usually in movies they'll build exterior sets 
and interior sets but it's not common they   put the two together but here they did and 
standing in this house it is clear i am in   an ancient building and it tells the 
story of a man obsessed with things other   than personal hygiene but maybe the coolest 
part about this set is that it didn't exist   six or eight weeks ago they built this building 
and dressed this set from scratch and we are   going to talk to alex from the set deck team about 
just how they implement this kind of storytelling alex we are standing in the kitchen of the 
farmhouse and it feels like i'm in any given   semi-ignored slightly messy kitchen but that's 
not the result of neglect it's the result of you   and your team's careful ministrations can you walk 
me through what you went through to dress this set   uh before anything else when we have our space 
we'll add all of our implements and uh general   rule is throw as much at the wall and see what 
sticks so we'll add as much as we can and pull   back oh so it's easier to take away than it is 
to add later always easier to take away than it   is to add later especially in the case where we're 
looking into a character right and seeing his life   and trying to get behind once reading a script 
get into their head a little bit here's a guy   that doesn't really care about his home life the 
kitchen does not matter to him so he really wants   to we want to convey the fact that he may have 
done some dishes once he's had some foods that   he doesn't have to worry about spoiling though 
yeah do you get them do you build a mood board of   the character and other like uh you gather images 
of kitchens that are really crappy absolutely our   decorators will go through and they'll get all our 
and our directors will work together determining   a look and then we'll try and appease and uh 
successfully pull off that look as much as we can   okay now i'm looking at a sink full of dishes but 
again i know because i've actually been on a team   like yours it's not just a sink full of dishes 
tell me about like when you're placing that how do   what is the process of knowing that you've gotten 
it right when it looks real it's a hard one it's   um you kind of do you step back a lot step back 
a lot look at it kind of shake your head a little   bit does it look real also is it going to be safe 
is it going to be falling oh right right stable   stable exactly we don't want things as dangerous 
as possible uh and we want to make sure that if   it has to come out can it be redone right and 
with what degree of difficulty oh my gosh i was   just realizing like you could dress the scene very 
carefully and actually start throwing stuff around   and your life becomes very difficult absolutely 
yeah do you ever bring in your colleagues and   be like hey i can't get this right what's going 
on what's what am i getting wrong pretty much   or uh things can also break on the day and you're 
like how do i fix how do i fix a table that's been   slammed through now i know from talking to jason 
and from various crew members that in this film   for careful watchers and lovers of the original 
ghostbusters there are easter eggs everywhere and   i have a good authority there are a couple in this 
kitchen do you want to maybe point them out sure   absolutely uh up above we have the box from the 
second movie that they poured the pink ooze into   this one absolutely oh no way so that was 
the actual token it's the actual toast   yes that's the same brand we found that and 
sourced that out and then we'd come back and   we'd even get the actual toaster on the counter 
no this is oh so it's the same one he's been using   oh my gosh that's a great throughput just a small 
thing right yeah exactly anything we can tie back   in even right down to the foods he eats i mean 
we've got cheez-its and i had more twinkies   stuffed around but throughout the movie you 
will see twinkies pop up and uh and crunch bars   crunch bars everywhere from pure specific to to 
current amazing amazing do you does scenic come   in and do dirtying up after you've done some set 
dressing as well in some cases or we can do the   breakdown as well if things are too hot before to 
give our scenic a little bit of a break we can uh   but we would do work together very closely on 
that now i i'm curious just how long like when   you look at a blank set like this and you've 
got to dress it what kind of timeline are we   looking at how long does that will take as long 
as we can oh sure but uh anywhere from a week to   a day wow wide variance depending on the 
emergency exactly and we work in the rule   of 10 so if we have this whole house we want to 
do 10 here 10 in another room 10 in another room   so that anytime anyone walks through they're 
always seeing progress oh interesting you   don't want to do one whole room while everything 
else is undone exactly oh that's a really good any notes that come in aren't detrimental to 
undoing everything all the work you've done nice if you want to get a sense of just how much 
work the art department and the various teams   did to make this house look like it does 
take a look upstairs which is undressed and   you'll get to see what a house that was built 
in a few weeks and is not permanent looks like   all right now we're in egon's dining room and i 
want to talk about the logistics of a set like   this because there's a lot of obviously there are 
a lot of moving parts in pieces but also as you're   we've been watching the last couple days as you 
shoot in different rooms the crew will gather in   different rooms to watch video and to stay out 
of the shot and stuff so how do you maintain   continuity of a space like this where someone like 
me wants to come and pick up everything lots of   photos the best thing that can has ever happened 
to the film industry so far is the cell phone   camera really because before that we were working 
off of polaroids and those are hard to see close   details hard to see close details and hard to keep 
in you have to have binders of just from days days   and days but with the camera we're able to take 
detailed photos and then go through and put things   back we also utilize other tricks such as uv 
pens where we'll mark things on tables so if they   do have to move we can quickly put things back 
because you've marked it in invisible ultraviolet   exactly oh that is gonna hit it with that or even 
small tape so if we have small colorful tape i'll   place it on on tables on ground wherever it's not 
gonna ruin finishes and place something back but   ultimately the photo is king because no matter 
what that's not coming off oh this is a very   compelling little space right here because this 
feels like it's telling a story of egon sits here   and works on small mechanical devices and actually 
i've already seen a couple of tools that i haven't   seen before like how much of your own maker dum 
informs a space like this when you're decorating   it must be a lot it is yeah absolutely and 
people who would go through and make this uh   the individual that did do this one he is a great 
little maker and he goes through and uses the   tools that he finds really intriguing and he'll 
go through and make sure that everything that he   would dream of is in the set right and within the 
course of filming this is in one day this could   be a live set and then in another day uh jason 
reitman could be sitting here with a monitor   directing action in the other in the studio 100 
all the time i've been on a lot of different   sets and like when you sit on a science fiction 
like uh spaceship set for instance it's easy to   see the work because nothing there is familiar you 
understand people spent days and weeks and months   designing and implementing and executing the set 
when you come onto a set like this it feels like   you're just in someone's messy house but the 
same amount of work went into this am i right   yeah absolutely i mean and sometimes it's a little 
easier to go with what's known right uh just   because now we have things we have to we can work 
with we have uh techniques that are already known   uh with something like this though we don't know 
what egon's been up to right oh these are nice   little circular okay i'm not gonna i really like 
want to touch every last thing but um as i've   been looking around the house my favorite space 
so far is egon study can we go there absolutely i keep finding cool things about this set and the 
stack of books which i assume were bound together   is even cooler than i thought because there's 
an earthquake that happens in the film   and this rocks back and forth so 
check this out oh that freaks me out that's oh look it's got a little 
timeline and everything moves movie magic there's so much storytelling in 
this room um a storytelling about obsession   about information about clearly egon is trying 
to solve a problem with this murder wall he's   built here with all the diagrams can you walk me 
through decorating a space like this specifically   yes absolutely to focus on the madness we have to 
show that his madness on a surface level without   showing how not mad he actually is now i also know 
that this set while we are in a rarity which is a   fully dressed interior that is on an exterior set 
you guys are moving this house or there's a second   house being built on a sound stage correct will 
you then be replicating a good portion of this   set on that sound stage as well replicating and 
moving the exact images over yes so we'll actually   through our photographs and continuity 
we will have everything packed up labeled   numbered and then reprocessed back at the set 
that second part sounds like it's maybe even   a little harder than the initial dress it 
sure can be because so much from when it's   initially addressed to when the film crew shows up 
changes right so anything can move any small thing   and depending on how close and how important of 
a set it is so much as the turning of an envelope   or a simple flashlight missing could be you're 
trying not to leave anything that the audience   that will call the audience to the idea that 
this is fiction exactly trying to make it look as   realistic suspend the disbelief oh right did i see 
that there's some practical effect with the mirror   simply for filming oh really yeah i just noticed 
when i went into the storeroom back here that the   mirror was removable it's just if the camera 
sees it if the camera sees a reflection we can   angle it oh that's so cool part of our many jobs 
of camera support as well to make sure that they   are comfortable and able to get the shots that 
are going to make it look the best that is   really neat i thought you meant for filming camera 
through here but you just mean to keep the camera   from being seen in uh exactly reflection oh 
my gosh that's really neat can you tell me   how you how you come about doing this for a 
living me personally yeah it was an accident   what were you doing at the time i was showing 
up to build shelves i didn't know who i was   supposed to talk to uh so i show up to a giant 
building and they say we just have a paycheck for   you just to build shelves walking around looking 
for anyone who looks like they're in charge yeah   i find someone i say hi my name is 
alec i'm here i'm here to build shelves   since i don't have shelter to build would you like 
to cut styrofoam and be insect deck instead that's   great i need to be creative and get paid for it 
for at least a week and you showed a facility   yeah absolutely you show an aptitude and a work 
ethic and that's that's really a lot of what takes   you along the way that's fantastic are you still 
having fun doing stuff like this this looks like   absolutely absolutely yes every day even the 
worst days is a great day it is as much fun to   look at as it looks like you have making it yes 
great team people and yeah they do amazing work going again going again

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