Given the number of times I've seen every episode of The Office, (including the super-sized episodes available with a Peacock subscription), I've come to truly cherish each and every new tidbit I come across about the beloved NBC series. Heck, even old tidbits that are new to me are enough to enhance my already-brimming appreciation for the series.

Such was the case for me after listening to a recent episode of the Office Ladies podcast, when hosts Jenna Fischer and Angela Kinsey were revisiting Season 3's penultimate episode, "Beach Games" with a "Second Drink" podcast episode. Their discussion led me to fire up my DVD player to listen to the full commentary for the episode, which includes Harold Ramis sharing his reason for having the characters sing on the bus.

If you've seen "Beach Games," you likely remember that the Season 3 episode has the cast of The Office headed off to the beach for what they think is a fun day in the sun, but actually turns out to be an audition to prove to Michael that they're worthy of inheriting his job. On their way to the beach, we see the characters on a bus belting out the words to "The Gambler."

As the episode's writer, Jennifer Celotta explains it on the DVD commentary, the singing was director Harold Ramis' idea, which he had shared in a production meeting prior to filming. But Brian Baumgartner (also speaking on the commentary) apparently wasn't aware this was going to be a thing until they were shooting the scene. As he explained it, Harold Ramis was in a car near the bus, and came in "over a God mic" and told him to sing something, so he did. Ramis piped in at this point on the commentary and explained:

I don't know why, but there's something so wholesome about that explanation to me. Maybe because it has me flashing back to bus-ride singalongs from my own past... Also the less happy bus rides I've experienced where there was no singing, for that matter. I wish I'd never been on a bus where people didn't sing, quite frankly.

It also could just be that I'm a fan of the late Harold Ramis, as an actor, writer and a director. Learning one of these small but meaningful bits of insight into his approach to directing an episode of a show I love so much is a real treat. I also love how he noted that he thinks Kate Flannery is a brave actress (over the scene where she attempts to show off her bathing suit for the cameras and forgets that she isn't wearing it.)

Baumgartner said "The Gambler" was the first song they sang on the bus, but as we see at the very end of the episode, the Flintstones theme song was also one of the tunes the cast sang on the bus ride to the beach. Ed Helms revealed on the commentary that he thinks he may have been the one to suggest that one as a nod to Trains, Planes and Automobiles. The cast also sang the Friends theme song, though that one didn't make it into the episode. "Tiny Dancer" (a song memorably featured in a bus scene in Almost Famous) was another song mentioned left on the cutting room floor.

I'll probably always think of Harold Ramis' simple explanation for why they were singing on the bus ride to the beach whenever I rewatch "Beach Games." Unfortunately, now that I've listened to the DVD commentary, I'll likely also remember the horrific story Ed Helms told about spitting bits of chewed up hot dog into a shared bucket between takes during the hot dog eating contest. Yuck!

Comedy is a lot harder to pull off successfully than it's often given credit for. It makes sense that some of the best filmmakers in history began their careers as comics, or at least comedic actors, given how a great comedian's mind works. They see the world in completely different ways, and that way of looking at things often means great movies, like some of the best rom-coms of all time, but they aren't always comedies. Here is our list of great comics who became great filmmakers.

Mel Brooks

You really couldn't have this list without Mel Brooks. His movies, which he's been making for an astonishing seven decades, never fail to disappoint. His career stretches back to the 1940s! He reinvented comedy on film with his early movies like The Producers, Blazing Saddles, and Young Frankenstein, and while he doesn't do as much directing these days, he's still killing it when he does.

Jordan Peele

Of all the comedians-turned-directors on this list, the biggest departure from his acting career to his directing career has to be Jordan Peele. He first entered our collective consciousness with his legendary sketch comedy show Key and Peele, but starting with Get Out in 2017, he's become one of the premier horror directors in modern Hollywood.

Amy Poehler

Like so many comedians over the last 50 years or so, Amy Poehler got her big break on Saturday Night Live. She left the long-running comedy show in 2008 to work on her next hit show, Parks & Recreation. In 2019, she directed her first movie, Wine Country, and followed that up with 2021's Moxie.

Christopher Guest

Some of the most quotable movies of all time have come from the collective minds of the ensemble casts that Christopher Guest has assembled for his movies, like Waiting for Guffman, Best in Show, and A Mighty Wind. He serves as the director, but he gives great leeway to his fellow cast members in all of the movies.

Paul Feig

Though he's best known as a writer and a director these days, Paul Feig started as a stand-up comedian when he first arrived in Hollywood in the 1980s. He struggled as an actor before scoring a role in Heavyweights in 1995. While working on that movie, he met writer Judd Apatow and the two co-created Freaks and Geeks. The rest is history.

Ben Stiller

Ben Stiller's biggest early break came in the Ben Stiller Show on MTV, which blended sketch comedy with music videos. From there, Stiller basically took over Hollywood to the point that it seemed like he was making a dozen movies a year! Okay, maybe not that many, but he was in a lot of movies, including many that he directed, like Reality Bites, The Cable Guy, Zoolander, and Tropic Thunder.

Mike Nichols

EGOT winner Mike Nichols directed some of the most iconic movies in Hollywood history. Movies like The Graduate, Working Girl, and The Birdcage. Nichols started his career as part of the comedy duo Nichols & May alongside Elaine May, who also became a filmmaker of some renown.

Charlie Chaplin

There are few people in Hollywood history who are as important to the growth of the industry as Charlie Chaplin. Chaplin wrote, starred, and directed almost all his major hits from the silent era up until A Countess from Hong Kong in 1967. He even scored many of his movies. He started in show business in the very early 20th Century in comedic roles on stage before movies were even invented.

Rob Reiner

As the son of the great Carl Reiner, Rob Reiner has comedy in his blood. His biggest fame early came as Mike "Meathead" Stivic in All in the Family, but for most of the last half-century, he's been known for his writing and directing, creating such movies as This Is Spinal Tap, The Princess Bride, and When Harry Met Sally..., among many others.

Chris Rock

Like many SNL alums, Chris Rock has had an incredible career in Hollywood. He started acting as a teenager in New Jack City, but he quickly became known for his stand-up act and his work on SNL. He's long been a writer and producer, and he started directing in 2003 with his directorial debut, Head of State. He's been busy directing ever since, in addition to everything else he does.

Judd Apatow

One of the most successful comedy directors in the last few decades is Judd Apatow. He's a one-man show, in many ways, writing, producing, and directing hits like The 40-Year-Old Virgin, Knocked Up, The King of Staten Island, and This Is 40. He's also produced a whole slew of successful comedies, like Bridesmaids, Anchorman, Step Brothers, and Pineapple Express. That doesn't even get into the TV shows he's produced or co-created, like Freaks and Geeks, Girls, and Crashing.

Harold Ramis

Without question, Harold Ramis belongs on the Mount Rushmore of comedy writers and directors. The list of movies he's directed and written (or co-written) is amazing. Caddyshack, National Lampoon's Vacation, and Groundhog Day are just the tip of the iceberg. Like so many in his generation of comedians, he started in sketch comedy at Second City in Chicago.

Ricky Gervais

Ricky Gervais gained worldwide fame when he co-created, co-wrote, and starred in the original version of The Office in the U.K. He's created a slew of shows since, and could even be credited with helping create podcasts with his early podcast, The Ricky Gervais Show. The stand-up comedian started directing films in 2009 with The Invention of Lying.

Penny Marshall

We lost a lot when Penny Marshall died in 2018 at age 75. She began her career in comedic roles, most notably as Laverne DeFazio, first on Happy Days, then in her own spin-off, Laverne & Shirley. Before long, though, she transitioned to directing. Her first movie, Jumpin' Jack Flash, introduced the world to Whoopi Goldberg as a comedic actor (her lone previous credit was in the drama The Color Purple) and went on to direct beloved hits like A League of Their Own and Big.

Seth MacFarlane

Seth MacFarlane started mostly as a comedy writer, which is hardly a surprise. He then created the animated shows Family Guy and American Dad for Fox. He made his directorial debut with Ted in 2012.

Albert Brooks

The legendary Albert Brooks started his career in sketch comedy in collectives like The Credibility Gap and appeared on variety shows in the late '60s and early '70s as a stand-up. His first directing gig was as part of the first season of SNL, before directing his first feature, Real Life, co-written with his buddy Harry Shearer. His later movies include classics like Defending Your Life, Mother, and The Muse.

Keenen Ivory Wayans

The Wayans brothers have certainly left a huge mark on Hollywood over the years, and the oldest sibling, Keenen Ivory Wayans, is the one who got them all started. He created and directed In Living Color, which made him a household name, but he had already directed I'm Gonna Git You Sucka before that. His biggest success, of course, is the Scary Movie franchise.

Carl Reiner

Carl Reiner got his start as a writer and actor in comedy sketches on two shows starring Sid Caesar, Your Show of Shows and Caesar's Hour. He then teamed up with fellow writer from the shows, Mel Brooks, and together they released comedy albums in the early 1960s. By the end of the decade, he was directing movies, with his two most notable hits, The Jerk and Oh! God, coming in the late '70s.

Cheech Marin

One of the biggest comedy duos of the '70s is, of course, Cheech & Chong. Before long, Cheech Marin was directing movies without his partner, including his directorial debut, Born in East L.A., in 1987.

Woody Allen

WE couldn't have this list without Woody Allen. Setting aside any personal feelings people may have towards the actor for his questionable personal life, Allen is, hands down, one of the most successful comedy film directors in Hollywood history. The list of movies he's written, directed, and starred in is far too long to list here. He developed his famous persona while working as a stand-up comedian in New York in the 1960s.

Michael Keaton

Michael Keaton was one of the most successful comedic actors of the 1980s with movies like Mr. Mom, Beetlejuice, and Johnny Dangerously. He started taking on more dramatic roles as the decade came to a close, and of course, he starred as the Caped Crusader in Tim Burton's Batman. He made his directorial debut in 2008 with the drama The Merry Gentleman and, more recently, directed the underrated Knox Goes Away in 2023.

Bob Odenkirk

Along with David Cross, Bob Odenkirk first broke big on Mr. Show with Bob and David, but that was after years in sketch comedy on shows like SNL and The Ben Stiller Show. He has gained his biggest fame more recently as the character Saul Goodman in Breaking Bad and the spinoff Better Call Saul (which somehow never won an Emmy).

Jerry Lewis

His comedy might not have been for everyone, but you can't argue with Jerry Lewis' incredible success over decades in Hollywood. Of course, he started as part of a duo with Dean Martin, but he soon took off on his own with movies like The Nutty Professor and The Bellboy. He directed both those movies as well, and would continue to direct his own movies throughout the '60s.

Donald Glover

While still in college, Donald Glover started doing sketch comedy in New York City. After graduating, he became a writer on 30 Rock first came to the public's attention in Community on NBC. His biggest critical success came with the show he created and produced the show Atlant,a in 2013. His first feature film directing gig came with Bando Stone & the New World, which is a companion piece to his album of the same name.

Jeff Garlin

For most people, Curb Your Enthusiasm is where they first saw Jeff Garlin, but his career goes back further than that. He also starred in The Goldbergs before abuse accusations led him to leave the show. Over the years, he's directed a number of movies, like the indie rom-com I Want Someone to Eat Cheese With and 2017's Handsome, which you can watch with a Netflix subscription.

Buster Keaton

Like Charlie Chaplin, Buster Keaton was a huge figure in the silent era of Hollywood. Also like Chaplin, the comedian started in theater at the dawn of the 20th century and then began writing, directing, and starring in his own films in the teens. He was one of the biggest stars of the early film industry, making more than a dozen hits in the 1920s.

Bob Saget

Not only is one of the dirtiest comedians of all time (and his version of The Aristocrats joke proves it), Bob Saget was also so beloved TV dad and wholesome host of America's Funniest Home Videos. Saget's first directorial credit came in the hilarious and underrated Dirty Work, working with Norm McDonald and Artie Lang on what must have been just a wild film shoot.

Aziz Ansari

Aziz Ansari had his breakout role as a member of the cast of Parks and Recreation, but he was already an experienced stand-up when that show took off. He directed his first film, Good Fortune, which he also wrote and stars in.

Jerrod Carmichael

Jerrod Carmichael is one of the most popular stand-up comedians in recent years and got his first major exposure with The Carmichael Show on NBC in 2015. He made his directorial debut in 2021 with On the Count of Three, which he also stars in alongside Christopher Abbott and an ensemble cast that includes Tiffany Haddish, J.B. Smoove, and Henry Winkler.

Bo Burnham

Bo Burnham made his name as literally a one-man show with his musical comedy YouTube channel that he started in 2006 (the very early days of YouTube). His first job as a director came in 2018 with Eighth Grade, which he wrote and stars in, as well.

Robert Townsend

Robert Townsend was groundbreaking as a Black comedian-turned-filmmaker in the 1980s when he wrote, directed, and starred in movies like Hollywood Shuffle, The Five Heartbeats, and Meteor Man, which is a comic book movie that deserves a reboot.

Bobcat Goldthwait

Without a doubt, one of the strangest movies mentioned in this list is Shakes the Clown, which was the first film directed by legendary stand-up comedian Bobcat Goldthwait. He's directed seven independent films since Shakes and they are always unique and funny.

Caddyshack turns 45 this year, and as a huge fan of the golf movie for most of my life, I’ve loved reading about all the stories celebrating the cult-classic. I’ve watched the movie so many times over the years that I can pretty much recite it line for line, even the ones that aren’t hilarious. One line that has become not only one of the best quotes in Caddyshack, but something I jokingly use all the time in real life is Al Czervik's line at the end of the movie, said by Rodney Dangerfield:

It’s a completely iconic line, and, according to the film’s co-writer and director, the late Harold Ramis, that’s not how the movie was supposed to end. In fact, there was a very different plan. Here’s the full story.

Ramis Didn’t Think The Line Made Any Sense, But Kept It Anyway

Ultimately, it can’t come as a surprise that Ramis decided to end the movie with a completely off-the-wall, improvised line from Dangerfield. If you know about the movie’s production, you know it was kind of chaotic, famous for the drug use and partying on set. It’s also a movie that is chock-full of improvisation, especially from the main cast members.

According to Ramis in the book Caddyshack: The Making of a Hollywood Cinderella (via Golf), he had nothing to do with the line, and he didn’t intend for it to even be in the movie, much less the last line. Ramis explained,

Though I disagree with Ramis’ assessment of the line, of which he said,

It makes total sense for Dangerfield’s character to say something so obnoxious, and ending the comedy in any other way would have felt like they were trying too hard, which goes against the freewheeling vibe of the movie. No, the ending is as perfect as the rest of the movie.

A ‘Casablanca-Like’ Ending Was The Original Idea

Ramis’ original idea for the ending was for Ty Webb (Chevy Chase) and Lacey Underall (played by the late Cindy Morgan) walking off into the sunset like Rick and Louis in Casablanca. There was also a scene in the script that saw Danny (Michael O'Keefe) following a woman to Jamaica instead of going to college.

I honestly can’t even imagine the movie ending with either of these scenes, but Chevy Chase fans will notice how similar that proposed ending is to how Fletch ended a few years later with Fletch (Chase) and Gail Stanwyk (Dana Wheeler-Nicholson) walking on the beach at sunset, discussing the rules of basketball. I have to wonder if that’s where the idea came from. As perfect an ending as it is for Fletch, it’s not how Caddyshack ends, and that’s a good thing.

For me, Caddyshack is a perfect movie. It’s concise, it’s hilarious, and it features four amazing performances from comedic masters: Dangerfield, Chase, Bill Murray, and Ted Knight. Dangerfield, the king of one-liners, is the perfect choice to land the final, ridiculous line of the movie.

That major third-act cameo in Ghostbusters: Afterlife wasn’t just an example of reverent fan service. It also played a pivotal role in the defeat of Gozer and helped protagonist Phoebe Spengler get some closure with her grandfather. But just how did that legendary moment come to pass? Director Jason Reitman has given fans a peek behind the curtain. 

In a recent interview with Empire, Ghostbusters: Afterlife director Jason Reitman revealed the logistics behind OG Ghostbuster Egon Spengler’s shocking cameo. The first step? Getting the blessing of the late Harold Ramis’ family. He said: 

Once Harold Ramis’ family had given the cameo their stamp of approval, Jason Reitman had to create a digital recreation of the actor that wouldn’t appear glitchy or artificial. His main priority was believability: in fact, the entire film depended on it. He explained: 

Luckily for Jason Reitman, Egon Spengler’s brief but powerful appearance seemed to resonate with fans of the original Ghostbusters. The film has an audience approval rating of 95% on Rotten Tomatoes and had a blockbuster opening weekend to boot. More importantly, however, the cameo gave fans the chance to say goodbye to a beloved character in an equally beloved franchise. 

Ghostbusters: Afterlife is now playing in theaters everywhere, with a digital release scheduled for January 4. You can also catch up on the original Ghostbusters on Hulu. 

The following contains major spoilers for Ghostbustes: Afterlife. 

Making a movie like Ghostbusters: Afterlife was always going to be something of a challenge following the death of Harold Ramis. Without all four of the original Ghostbusters, any attempt to bring them together again would feel like something was missing. But writer/director Jason Reitman found a way by making Ramis’ character a huge part of the story, and the late actor’s daughter has nothing but praise for Reitman, saying perhaps only he could have made this movie.

While Harold Ramis is no longer with us, if you’ve seen the movie you know he does appear in the film. Egon Spengler is actually a huge part of the plot of Ghostbusters: Afterlife, as the character’s death in the film is the catalyst for the entire story. Ramis’ daughter, Violet Ramis Stiel, tells THR that she really thinks Jason Reitman honors everybody involved in the original movie. According to Steil...

While millions of us grew up with Ghostbusters, certainly few of us did so in quite the same way that Harold Ramis’ daughter and Ivan Reitman’s son did. The two have apparently known each other since they were kids. Even before Ghostbusters, Ivan Reitman produced National Lampoon’s Animal House, co-written by Ramis, and directed Stripes, co-written and co-starring Ramis, along with Bill Murray.

And Ghostbusters was also a movie-co-written by Harold Ramis, so he had a connection to it that went beyond simply being a player. It’s easy to believe that their kids would also see Ghostbusters in the near sacred way that many fans do. There’s little argument that Ghostbusters: Afterlife is a love-letter to the original film.

The way that Harold Ramis’ character is brought into the new movie will likely be a topic of debate going forward. For some it will be emotional, for others it might appear in bad taste. However, Violet Ramis Stiel is happy with the way it worked out, pointing out that the movie is about a character, not her father. She continues...

Still, for many people the Egon character is going to be just as special. There will likely be many opinions about how the movie included him. Ghostbusters: Afterlife is in theaters now.

Warning: SPOILERS for Ghostbusters: Afterlife are in the trap. If you haven’t seen the movie yet and want to go in cold, turn back and bust some of our spoiler-free coverage of the film. 

There is a moment in co-writer/director Jason Reitman’s Ghostbusters: Afterlife that’s bound to be the talking point among whomever has seen the film. It’s something that, while feeling like a natural inclusion in this movie’s climactic third act, still felt like a bit of a surprise. Through a controversial cameo, this brand-new chapter in the classic paranormal comedy franchise has what some might see as a bittersweet moment that really hits home.

Or, if you’re in the other column, it’s a crass moment that highlights everything wrong with the concept of a “legacy-quel.” Seeing as these sorts of matters rarely have a clear cut “right answer,” I want to talk out both sides of why this Ghostbusters cameo could and couldn’t be seen as a problem. While the decision on which argument is more compelling lies with you, the reader, the least we can do is discuss this scenario in full. As such, here's the last call for spoilers, as we’re about to discuss Ghostbusters: Afterlife’s big moment, for better or worse.

Who Is The Controversial Cameo In Ghostbusters: Afterlife?

During the climactic battle on the Spengler family farm, Phoebe (Mckenna Grace), her new crew of Ghostbusters and the remaining OG members all take on Gozer the Gozerian and its Hell Hounds. Just when the battle seems to be at a pivotal moment between success and failure, the spirit of Phoebe’s grandfather, Egon (Harold Ramis) appears and helps her steady her proton stream. Success is achieved and the dearly departed Ghostbuster gets a final moment of closure with the family and friends he seemingly abandoned. What’s more, this is done with full usage of Mr. Ramis’ likeness, giving the audience one last chance to see Egon Spengler in action, busting ghosts and saving the day.

Why Some May Disapprove Of Egon's Ghostbusters: Afterlife Cameo

You can practically hear the alarm bells going off in terms of what the internet discourse is surrounding that Ghostbusters: Afterlife moment. Viewed from a certain angle, the return of Harold Ramis/Egon in the franchise’s latest entry could be seen as an absolutely horrible call. Without the proper permission, or even used in the wrong context, digitally resurrecting a beloved actor who’s no longer with us could feel like a sucker punch that’s being used for “all of the feels” in a sequel that has an entire franchise riding on its back.

Considering we’ve seen digital representations of deceased actors used to sell products, as well as to appear in other legacy-quels like Rogue One: A Star Wars Story, that sort of reaction isn’t unfounded. In its worst case, bringing an actor like John Wayne “back from the dead” to sell Coors Light is an absolute travesty, though that’s not exactly what’s going on here. Looking at the other side of Harold Ramis’ return to this franchise, there are certainly positive points to be mentioned.

The Reasons Why Ghostbusters: Afterlife's Cameo Makes Sense

For generations of Ghostbusters fans, Egon Spengler was an integral part of what made the team in Ivan Reitman’s first two films work so perfectly. His presence was so essential to the finished product, as the absence of his character would have been palpable no matter what. Structuring this film’s story around the surviving Spengler family members, and their feelings about the loss in-universe, makes that emotional core an even stronger hook to hang the entire movie upon. Including Harold Ramis’ likeness as Egon’s spirit in Ghostbusters: Afterlife not only gives the character’s family and friends the chance to say goodbye, it leaves fans with the same sort of opportunity as well.

Tossing aside the ghostbusting action for a moment, this is a movie that absolutely lies in Jason Reitman’s wheelhouse. While also providing a bridge towards more Ghostbusters action-comedy romps, Reitman’s penchant for stories about families and human emotion shines brightest through the moment that Egon gets to step back in and save those who meant the most to him from the great beyond. That’s fine and well, but what happens when you restore the ghostbusting action and the legacy of the Ghostbusters franchise back into the equation?   

Does Egon’s Appearance Serve The Story Of Ghostbusters: Afterlife?

So does Egon Spengler’s fond farewell to the world of Ghostbusters serve the story of Afterlife? From where I’m standing, it absolutely does. Watching that moment unfold in real time, it was actually the moment that fully turned me from cynic to fan. As someone who wore their VHS copy of Ghostbusters out, only to switch to my copy of Ghostbusters II taped off of HBO, that scene actually brought me to tears. Because of writers Gil Kenan and Jason Reitman, a sequel could be made that gave Egon a proper sendoff, while also building his legacy into the fun and adventure the series always represented; and it was about time too. 

For decades, a proper third entry in the existing canon of these films has been teased, and by the time it was actually made, Harold Ramis, and by extension Egon, couldn’t be there for the ride. The story behind just why that was is equally heartbreaking, as the real life falling-out between Ramis and former collaborator Bill Murray after Groundhog Day certainly didn’t help matters. Eventually, through the idea presented in this movie, and the blessing of Harold Ramis’ family, one final movie with the whole gang was possible. 

Again, the decision on whether Ghostbusters: Afterlife stuck the ending or not on this big moment is up to you. Should you have read this rundown before actually seeing the movie, you owe it to yourself to see the actual finished product before weighing in. To that point, you can catch the latest blockbuster chapter in the Ghostbusters legacy, as it’s currently showing only in theaters. For all other films remaining on the calendar for this year, check out the 2021 release schedule, and see what's ready to scare up some business before the end of the year. 

Another November weekend is ahead, which means there’s some big box office potential headed our way. Will the audience call on the Ghostbusters with the release of the latest installment, Ghostbusters: Afterlife? Jason Reitman, the son of original Ghostbusters director Ivan Reitman, has helmed the sequel that will also see Bill Murray, Dan Akyroyd and Ernie Hudson back in their jumpsuits, along with “Sexiest Man Alive” Paul Rudd and Stranger Things’ star Finn Wolfhard starring. Let’s take a look at the projections. 

Ahead of the movie’s opening weekend, it’s being projected by Sony that Ghostbusters: Afterlife will make $27-$28 million during its domestic debut, and $45 million worldwide. The Deadline report isn’t mind-blowing, but considering the movie’s reported $75 million budget, Afterlife looks like it could be a relative success for the studio. 

By comparison, 2016’s Ghostbusters, which starred Melissa McCarthy, Kristen Wiig, Leslie Jones and Kate McKinnon, made $46 million domestically in its first weekend. However, that was against a $144 million production cost. In total, the all-female Paul Feig film made $229 million worldwide, which was almost $60 million shy of making double its cost, making for an underwhelming box office performance. When it comes to Afterlife, hitting over $225 million worldwide in theaters before it exits theaters sometime during the holiday season will be enough to deem the film a worthy successor. 

Ghostbusters: Afterlife is expected to be this week’s No. 1 movie, knocking off Eternals from its No. 1 spot during its third week at the box office, which is expected to take $13.4 million (a 50% decline from the week before). Venus and Serena Williams' tennis biopic starring Will Smith, King Richard, is expected to open around $10 million, as it also debuts on HBO Max on the same day. 

Afterlife has received mixed reviews from critics ahead of its theatrical release. CinemaBlend’s own Sean O’Connell gave the movie three out of five stars in our Ghostbusters: Afterlife review, calling it a “sometimes unbalanced continuation of a beloved franchise” that has its positives, but enough shortcomings as well. The movie takes the series out of New York City and to a small town in Oklahoma where the grandchildren of the late Harold Ramis’ Egon Spengler move to and begin to uncover supernatural occurrences. 

The new Ghostbusters movie places the focus on a new generation of Ghostbusters, as McKenna Grace’s Phoebe Spengler and Finn Wolfhard’s Trevor Spengler continue the Ghostbusters legacy. Also among the cast is Carrie Coon as their mother Callie Spengler, Sigourney Weaver as Dana Barrett, Annie Potts as Janine Melnitz and Josh Gad as Muncher. Ghostbusters: Afterlife will first debut during Thursday night screenings – we’ll keep you posted as the weekend progresses on how the sequel does commercially. 

The upcoming Ghostbusters: Afterlife is going to provide something we haven’t seen on screen since 1989, and that’s a direct sequel to the original Ghostbusters. Directed by Jason Reitman, Ghostbusters: Afterlife picks up with new characters in a new location, but they have ties to one particular, beloved character we know so well: Egon Spengler, played by the late great Harold Ramis. And in this movie, young Mckenna Grace plays Egon’s granddaughter, while also doing some very subtle homages to Ramis’ unique comedic approach. Watch her discuss the performance in the video above. 

This is not a spoiler, as the trailers for Ghostbusters: Afterlife have indicated that Mckenna Grace, Finn Wolfhard and Carrie Coon were relatives of Egon Spengler, and unearth his Ghostbusters gear when they move to his deserted farm in the Midwest. But even just looking at the hair, the glasses, and the smarter-than-you posturing of Grace in the trailers suggest that she’s channeling Harold Ramis, without stealing from his originality. 

She and Jason Reitman reportedly had several conversations about how best to approach this, as McKenna Grace tells CinemaBlend:

The world lost Harold Ramis in 2014. Continuing the Ghostbusters franchise without him had to be emotionally taxing for all involved. Jason Reitman isn’t just a director. He’s the son of Ivan Reitman, the director of the first two Ghostbusters films. This is a legacy they are attempting to build on, and a lot of that falls to Mckenna Grace as she personifies the person in the story with the intelligence to see through the paranormal of everything that’s happening. Much like Egon did, and would have had he been part of Ghostbusters: Afterlife.

Phoebe doesn’t have to go it alone this time out. She does have a new friend in Podcast (Logan Kim), her older brother Trevor (Finn Wolfhard), and her inquisitive science teacher (Paul Rudd) to call when things get chaotic. And boy, do they ever. I’m not talking about Manhattan in the 1980s. But there’s enough strange stuff happening in Phoebe’s new hometown to make you want to strap on a proton pack and explore who the Dirt Farmer was. 

To reveal any more would be to spoil, so you will just have to wait and see how the rest of Ghostbusters: Afterlife connects to the existing Ghostbusters movies when the film opens in theaters on November 19.

Having passed away on February 24, 2014, Harold Ramis is someone who may be gone, but will certainly never be forgotten. Yet, on the contrary, there are a few moments from the Ghostbusters star’s career in front of the camera that may not be as well remembered.

Other than his other well-known starring roles, such as in Stripes or Baby Boom, some may better remember the celebrated comedic talent, who died at the age of 69 due to complications from autoimmune inflammatory vasculitis, from his iconic directorial efforts such as Caddyshack (his behind-the-camera debut), National Lampoon’s Vacation, Groundhog Day, and even the dark holiday comedy The Ice Harvest, to name a few. However, did you know that Harold Ramis also makes an onscreen appearance in a few of those aforementioned titles?

I will help refresh your memory of those particular cameos and more, including ones that extend beyond his directorial career. We may not be able to see Harold Ramis reprise his role as Dr. Egon Spengler in Jason Reitman’s upcoming, highly anticipated sequel Ghostbusters: Afterlife, but we can still find our own ways to honor his hilarious legacy in a more lovingly obscure fashion with the following seven obscure film appearances of his, starting with one that might have been especially difficult to recognize him from.

Marty Moose Recording (National Lampoon’s Vacation)

For his 1983 sophomore directorial feature, which he co-wrote with John Hughes and eventually became a beloved hit franchise, Harold Ramis managed to have a little fun beyond his behind-the-camera position but without even making a physical appearance onscreen. In the climactic moment of National Lampoon’s Vacation when Clark Griswold (Chevy Chase) and his family finally reach Wally World only to discover it is closed for repairs, the voice on the apologetic recorded message (meant to be theme park mascot Marty Moose) is an uncredited Ramis.

Neurologist (Groundhog Day)

Harold Ramis is credited and visible for this cameo in his 1993 comedy which audiences still consider to be the gold standard of any film about people trapped in infinite time loops. He plays a neurologist in Punxsutawney, Philadelphia, whom TV weatherman Phil Connors (Bill Murray) goes to see, hoping to learn that his reliving the titular holiday of Groundhog Day is just a sign of his own insanity. Yet, with no sign of any brain damage, Ramis’ doctor sends Connors to a psychiatrist, who is even more clueless about how to solve his problem.

Chris Moore (Airheads)

While not necessarily the gold standard of rock ’n roll movies (most would give that honor to This is Spinal Tap), Airheads is still a cult favorite among both metalheads and comedy fans and one scene from the 1994 film that best defines that crossover. At the height of a radio station hostage situation orchestrated by a trio of aspiring musicians (Brendan Fraser, Steve Buscemi, and Adam Sandler), a man named Chris Moore (Harold Ramis) approaches claiming to be a Capitol Records executive looking to strike a deal with their band, The Lone Rangers. However, they quickly regard him as a cop in disguise when he fails to correctly answer who would win at arm wrestling: Motörhead’s Lemmy Kilmeister or God (“Trick question. Lemmy is God”).

L’Chaim (Walk Hard: The Dewey Cox Story)

Harold Ramis actually does play a record executive (just in a ridiculous, satirical fashion) in this underrated 2007 parody of music biopics which was nominated for a Golden Globe for Best Original Song. His character L’Chaim, who dresses more like a rabbi than a music producer, appears in a few scenes of Walk Hard: The Dewey Cox Story, the most memorable being when he visits his imprisoned client (John C. Reilly in the title role) to give him advice on his next move… in Yiddish.

Zeke (Heavy Metal)

If the title does not already make it clear enough already, music was also a huge theme of this 1981 animated anthology film for adults which fused popular rock ’n roll hits with sci-fi adventures in the vein of Star Wars. Heavy Metal may also be home to the most obscure and surprising of Harold Ramis’ many cameos. In one segment, he provides the voice of Zeke: an alien whom, along with his friend and passenger Edsel (Eugene Levy), learn the hard way that you should never pilot a spacecraft while stoned.

Ben’s Dad (Knocked Up)

Speaking of getting stoned, in his first leading role in major motion picture, Seth Rogen also had the honor of starring alongside Harold Ramis in the role of his onscreen father. He first appears in a sweet scene from the 2007 Judd Apatow comedy Knocked Up when Rogen’s character Ben Stone reveals to his dad that he is having an unplanned child with E! reporter Alison Scott (Katherine Heigl) after a one-night stand, to which he responds quite ecstatically. The most fascinating aspect of the scene to me, however, is how believable Ramis is as Rogen’s father by resemblance alone.

Rob’s Dad (High Fidelity)

Knocked Up was actually not the first time that Harold Ramis would play the onscreen father of a famous actor in a miniature role, but was the first time that audiences would see such an occasion in theaters. In a deleted scene from the 2000 film adaptation of Nick Hornby’s novel High Fidelity, which was recently made into a Hulu original series starring Zoe Kravitz, Ramis plays the father of Rob Gordon - a fourth-wall breaking and broken-hearted record store owner played by John Cusack. Their brief and hilariously casual exchange over each other’s sexual histories, let alone Ramis’ presence, makes the fact that this scene did not make the final cut all the more surprising.

What do you think? Should Harold Ramis’ small appearance with his future The Ice Harvest star not been excluded from High Fidelity, or do you think the unusual vulgarity of their father-son conversation does not live up to the cult classic’s more memorable and funnier moments? Let us know in the comments and be sure to check back for additional information and updates on the legacy of the late, great actor and filmmaker, as well as even more retrospectives of your favorite celebrities’ lesser-known onscreen moments, here on CinemaBlend.

Anytime the Ghostbusters franchise has been invoked since the passing of series co-star/co-creator Harold Ramis, there’s a bittersweet note that hangs over the conversation as his absence is always felt in that particular universe. Playing the deadpan genius Egon Spengler in the original two films, Ramis’ timing and quirky personality was always a vital component to the Ghostbusters franchise. Thankfully, while he may be gone, Egon will never be forgotten; especially in the way co-creator/co-star Dan Aykroyd talks about his departed friend, and how the late actor will still contribute to the upcoming Ghostbusters: Afterlife.

Dan Aykroyd addressed Harold Ramis’ absence in the series, also noting a bit about how the late actor will play a part in the new chapter of the series. Speaking with EW, the actor discussed his new Hotel Paranormal series before touching on Ramis, saying:

While we’ve always known that Harold Ramis’ untimely death would be addressed in Ghostbusters: Afterlife, it’s still comforting to hear a friend and colleague of the man himself assure us that his representation in the series going forward will be a most honorable one. That’s doubly assuring when coming from Dan Aykroyd himself, as his position as the series' co-founder with Ramis shows just how dedicated he is to preserving the work they did together.

Though it also sounds like we’ll be seeing the original Ghostbusters reuniting for more than a possible cameo, as Dan Aykroyd’s comments about standing in formation has us ready to believe that Bill Murray and Ernie Hudson are going to jump into the fray at some point in Ghostbusters: Afterlife. Of course, that’ll be in support of the next generation of spectral Spartans, as Finn Wolfhard and McKenna Grace will be taking center stage in the adventure ahead.

Which is beautiful in its own way, considering that if all of the chatter after the first trailer was released is to be believed, the kids we’re following in Ghostbusters: Afterlife are Egon Spengler’s grandchildren. Dan Aykroyd himself has put it into the world numerous times that the descendants of the original Ghostbusters would be the focus of this new film, and he’s even said that this Jason Reitman directed sequel to Ghostbusters II connects old franchise DNA with new. Not to mention, when you see McKenna Grace’s Phoebe wearing some very familiar-looking spectacles, it’s hard not to see the family resemblance.

It’s going to be sad to see the Ghostbusters crew without Harold Ramis around to join the action, but knowing that the future generations in Ghostbusters: Afterlife could be carrying on his legacy is something that even he would probably get a kick out of. Those results will be unveiled for all to see, when the film hits theaters on March 5, 2021.

Nostalgia has been more than present during the public’s self-quarantine activities, as many have used the time to jump into streaming services and revisit some of their favorite films and TV shows. Not only that, but Frozen star Josh Gad has been piquing our nostalgic interests with surprise cast reunions that range from films of the ‘80s to the early 2000s. Now, for his latest venture, he’s bringing together the cast of one of the biggest hits of the 1980s – Ghostbusters!

Josh Gad has confirmed that the cast of Ghostbusters will appear in the latest episode of his YouTube series, Reunited Apart, on Monday, June 8. The news was revealed at the tail end of the recent Lord of the Rings-centric installment. Gad alluded to the reunion when Ray Parker Jr.’s “Ghostbusters” theme played at the tail end of the video. Gad also took to Twitter to confirm the special and express his excitement:

An official guest list has yet to be released, but franchise stars Bill Murray, Dan Aykroyd and Ernie Hudson are expected to join Gad on the show, though it’s unclear if we’ll see co-stars Sigourney Weaver, Annie Potts and Rick Moranis. However, it may be safe to assume that director and producer Ivan Reitman will jump in at some point.

Josh Gad’s surprise reunions have been great so far, and one could argue that they’ve only gotten better. The actor and film buff already outdid himself by linking up the casts of ‘80s gems like Back to the Future and The Goonies, but Ghostbusters just takes things to another level. Hearing behind-the-scenes stories from the cast and crew is sure to be a real treat.

This event will also serve as somewhat of a warm-up for the upcoming Ghostbusters: Afterlife, which will see Murray, Weaver, Aykroyd, Hudson and Potts all reprise their famous roles.

The only bittersweet aspect of the reunion will be that it won’t include Harold Ramis, who co-wrote the script with Dan Aykryod and famously played the team’s resident genius, Egon Spengler. The veteran comedy actor and writer passed away at the age of 69 back in 2014.

While it’s sad that Harold Ramis won’t get to take part in the conversation, you can bet the group is going to carve out some time to pay tribute to him, as Gad did with the late John Candy during another episode. Fans can also take comfort knowing that both Ramis and Egon’s legacies will be honored in Afterlife.

Whether you’re a longtime fan of the franchise or have just gotten acquainted with the paranormal experts, Josh Gad’s Ghostbusters reunion should have plenty to offer all generations. And with any luck, we’ll finally get to know what Slimer was really like on the set.

Ghostbusters is currently available to rent or buy on Amazon Prime.

The original Ghostbusters had their adventures in the ‘80s but, now, a new team of heroes will rise to deal with paranormal activity in Ghostbusters: Afterlife. The highly anticipated sequel is set to expand on the universe established by the original two films, which has some veteran fans worried about just how closely Afterlife matches it predecessors. Well, never fear, because Afterlife star Finn Wolfhard thinks those fans will be pleasantly surprised.

Wolfhard tells NME that fans shouldn’t worry because Ghostbusters: Afterlife will faithfully build on the classic films. In addition, he also believes the movie will appeal to younger fans by employing some key themes:

From the moment fans got their first glimpse at the Ghostbusters: Afterlife trailer, it was more than evident that it’s leaning into nostalgic aspects of the franchise. That humor and sense of family that Finn Wolfhard mentions are also present. These are elements that are far from unfamiliar to the young actor, as the TV show he stars in – Stranger Things – employs these very themes. In terms of Afterlife, the idea of family is especially important since the film focuses on an actual family.

Ghostbusters: Afterlife centers on a single mother who, with her two kids, moves to a farm in Oklahoma she inherited from the father she never knew. As time goes on, her children discover a connection between their family and the original Ghostbusters, which also illuminates the identity of their late grandfather.

Many have already speculated that the grandfather in question will be Ghostbuster Egon Spengler, who was portrayed by the late Harold Ramis. Although details are scarce on how he’ll play into the film, Egon’s fate will indeed be addressed.

Ramis’ absence will make the viewing experience somewhat bittersweet, but at least fans can still look forward to seeing the returning Bill Murray, Dan Aykroyd, Ernie Hudson, Sigourney Weaver and Annie Potts.

These links to the first two entries will be a sharp departure from the direction that Paul Feig’s 2016 reboot took. His film, which used elements from the originals and featured the veteran cast, didn’t take place in the continuity of the vintage installments. This proved to be a point of contention for a portion of the fanbase.

While both Finn Wolfhard’s statements and the first footage should be encouraging to fans, we’ll just have to wait and see how exactly it pays homage to what’s come before. Ghostbusters: Afterlife is set to be released on July 10, 2020.

Actor Harold Ramis passed away on February 24, 2014 at the age of 69. The actor, comedian, writer, director and producer left his stamp on more than one Hollywood classic, but he’s probably best known as one of the stars and co-writers of Ivan Reitman’s 1984 film Ghostbusters. So on the anniversary of Harold Ramis’ death, and with a new Ghostbusters movie on the way, the franchise paid its respects to the man behind Dr. Egon Spengler. Take a look:

What a lovely sentiment from the Ghostbusters franchise. As you can see, the official Ghostbusters Twitter account was responding to a Harold Ramis tribute from artist NinjaInk. On the anniversary of his death, the tribute thanked Harold Ramis for all he did and the impact he had on pop culture and the childhoods of countless people. The tribute included a picture of Egon’s Proton Pack, set down as the former Ghostbuster parts this life, hand in hand with Slimer.

To echo the sentiments of NinjaInk, the Ghostbusters account wished for the actor to rest in peace and affirmed that although it has been six years since Harold Ramis’ death, Ghostbusters will carry on his legacy forever. It’s a touching post, the kind that makes you smile thinking about Harold Ramis and Egon, and well up with tears remembering that he’s gone.

Fortunately, Ghostbusters is making it clear he will not be forgotten. Harold Ramis helped create this story and his influence, as well as the influence of Dr. Egon Spengler, will not be brushed aside as this franchise continues into the future. It’s a nice sign of respect that Ghostbusters remembers its past and knows where it came from.

The Ghostbusters franchise isn’t just paying lip service to the memory of Harold Ramis either. The loss of Dr. Egon Spengler, and metaphorically the loss of Harold Ramis, will also seemingly play a major role in this summer’s rebootquel of the franchise, Ghostbusters: Afterlife. According to returning star Bill Murray, Ghostbusters: Afterlife will address the death of Harold Ramis because part of the story of the film will be about the Ghostbusters being a man down.

Judging from the trailer and what we've heard, the new film will follow Egon Spengler’s daughter and grandchildren in a small town with big secrets that tie into the former Ghostbuster’s legacy. From the glasses worn by McKenna Grace in the film to Egon’s Ghostbusters uniform, I expect Ghostbusters: Afterlife to be dripping with nods to Harold Ramis and Dr. Egon Spengler, on top of the story in which his absence will be keenly felt.

Ghostbusters: Afterlife haunts theater screens starting on July 10. Check out our 2020 Release Schedule to see what else you can look forward to this year and stay tuned to CinemaBlend for the latest movie news.

Unlike the 2016 reboot, this summer’s Ghostbusters: Afterlife is a continuation of the classic Ghostbusters film series, and as such it will see the return of the original cast, including Bill Murray. But one person who won’t and can’t be back is actor Harold Ramis, who passed away in 2014. And lest you think the new movie will ignore that fact, Ghostbusters: Afterlife will address the death of Harold Ramis. That’s according to Bill Murray, who said:

The loss of Harold Ramis is not easily brushed over, and Ghostbusters: Afterlife will not breeze past or give merely a cursory acknowledgement of the absence of Dr. Egon Spengler. On the contrary, according to Bill Murray, the fact that Egon is gone and the original Ghostbusters are a man down is the whole thing.

The actor who plays Dr. Peter Venkman in the franchise told Vanity Fair that the story that they’re telling in Ghostbusters: Afterlife is very much about the fact that Egon isn’t around anymore. So by the sound of it, the absence of the character played by Harold Ramis and how that has affected the people in his life, including his family, will be a central part of the story of the film directed and co-written by Jason Reitman.

Bill Murray’s comments about the film comport with what many Ghostbusters fans have suspected for a while, but has yet to be officially confirmed, following the release of a cast photo and the first trailer for the movie. Namely, that Ghostbusters: Afterlife is the story of the descendants of the original Ghostbusters team, specifically Egon Spengler.

In the trailer for Ghostbusters: Afterlife, we see McKenna Grace’s Phoebe, whose glasses evoke our memory of Harold Ramis’ Egon. We also hear her in the trailer talking about her grandfather and how she and her mother, played by the amazing Carrie Coon, are picking through the rubble of his life. Combine that with the fact she has a ghost trap, and this puzzle isn’t too hard to put together.

You can even see Egon Spengler’s Ghostbusters uniform in a shot in the trailer. Take a look:

As Bill Murray indicated, Ghostbusters: Afterlife will clearly be dealing the fact that Harold Ramis is no longer with us and neither is his character Egon Spengler, and from there all the consequences of that unfortunate reality. The real question becomes if the ‘How?’ Egon died will prove to be an important part of the story or not.

For a film that is about ghosts and subtitled Afterlife to be in part about the loss of a family member, and on a metatextual level about the loss of a beloved actor, feels appropriate. In a way, it seems like Ghostbusters: Afterlife will act as a tribute of sorts, both to the franchise’s past and Harold Ramis in particular, but doing so in a way that allows new faces to be brought in and an original new Ghostbusters story to be told.

Bill Murray reunites with Dan Aykroyd, Ernie Hudson, Sigourney Weaver and Annie Potts for Ghostbusters: Afterlife and they are joined by newcomers McKenna Grace, Carrie Coon, Finn Wolfhard, Paul Rudd and Bokeem Woodbine.

Ghostbusters: Afterlife haunts theater screens starting on July 10. Check out our 2020 Release Schedule to keep track of all the other big movies coming this year.

Ghostbusters 2020 director Jason Reitman casually shared a very intriguing cast photo from the set of his movie, which just started filming for its release this time next year. This Ghostbusters movie is a family affair in every respect. Reitman is the son of director Ivan Reitman, who directed the original 1984 Ghostbusters. Both Reitmans are in the set photo, along with cast members Carrie Coon, Finn Wolfhard, and Mckenna Grace. Meet the family:

If that bespectacled child collects spores, molds, and fungus, we'll know she's a true Spengler.

All we know about Ghostbusters 2020's cast is that Carrie Coon plays a single mother with Captain Marvel's Mckenna Grace and Stranger Things' Finn Wolfhard as her kids. The main stars are reportedly two sets of teens -- one set older, one younger.

It's hard not to read into Mckenna Grace's new look in Jason Reitman's set photo. She's basically unrecognizable as herself, but very recognizable as an adorable mini Egon.

So that has fans taking the hint, and wondering if we're looking at Egon Spengler's kids, or maybe his grandchildren. We knew Ghostbusters 2020 would be honoring the late Harold Ramis, who died in 2014. Having his kids/grandkids -- or at least a mini Egon -- be the stars would be a loving way to keep his spirit alive in the movie. Apparently Mckenna Grace has a leading if not the leading role in Ghostbusters 2020, which would make sense if she's a mini Egon. But that's speculation right now.

Jason Reitman co-wrote the script for this movie, and he recently said he wanted to make "a love letter to the original movie." He also said the character of a 12-year-old girl just popped into his head, with a proton pack on her back. After picturing the girl, he saw her family, and he knew the movie he needed to make.

OG Ghostbuster Dan Aykroyd has talked about how much this movie will connect to the original. The surviving Ghostbusters are all expected to return -- with Aykroyd joined by Bill Murray and Ernie Hudson, with Sigourney Weaver saying she's in as well.

On top of that, Paul Rudd is in the cast! Yes, Ant-Man himself will be in Ghostbusters 2020. I don't know what he'll be doing, but here's hoping he's like Louis Tully's son or something.

There are many reasons to be excited for Ghostbusters 2020. We're on standby for more official details on the plot and characters. Since the movie just started filming, it shouldn't be too long before we get that kind of information, and maybe more photos and -- eventually -- a trailer. The film is scheduled for release in theaters on July 10, 2020.

Harold Ramis' Groundhog Day is a movie that many people watch annually on February 2nd, but this year has a special significance. The 1993 film is celebrating its 25th anniversary in 2018 - and it's certainly a feature worth celebrating and investigating. As die-hards know, it's a feature with a complicated backstory where a lot of changes were made throughout production - and apparently that included a draft with a much darker opening for the story that just dived straight into the narrative. Producer Trevor Albert recently explained,

The dark first act that Trevor Albert is referring to is a version of Groundhog Day that didn't waste any time letting the audience get to know Phil Connors or understand how he arrived in Punxsutawney, Pennsylvania. Instead, according to an interview with Variety, the original draft of the script threw audiences right into the middle of the time loop. Apparently Albert was a big fan of this approach, but it wasn't popular enough to make it to the final draft.

Adding in his thoughts, screenwriter Danny Rubin offered a detail that one might guess could have led to the approach being axed: evidently there was an idea that would have seen Groundhog Day feature an omniscient narrator explaining things to the audience throughout the story. Said Rubin,

Rather than risking audience disorientation or a narrator crutch, Groundhog Day axed both, and may very well be the better movie for it. There is a wonderfully natural way that the story progresses in the film, with Phil Connors first adjusting to and understanding his situation, then exploiting it, and then feeling crushed by it. The earliest draft would certainly have been very different, and may have had some great ideas of its own, but it's hard to argue with the finished product.

As alluded to - and covered in Variety's piece - Groundhog Day was a movie that went through a lot of revisions during its development, mostly because of clashes regarding tone. While director Harold Ramis envisioned the story to be more in line with his other feature efforts like Caddyshack and National Lampoon's Vacation, star Bill Murray had a much greater appreciation for the more philosophical elements of the narrative and pushed for their inclusion. By the end of production, the experience created a deep rift between Murray and Ramis and the two men didn't speak for nearly 20 years. Thankfully, they managed to patch things up before Ramis passed away in 2014.

Ultimately Groundhog Day is truly a brilliant film because of the way in which it balances both of Bill Murray and Harold Ramis' demands. It's not only outrageously funny, but it's also a genius existential exploration that builds off the work of thinkers like Jean-Paul Sartre and Friedrich Nietzsche. If you didn't watch it on February 2nd this year, the good news is that today is actually the official anniversary, so do yourself a favor and pick out your Blu-ray/DVD and give it a watch.

Bill Murray has had countless memorable roles on his resume, from Peter Venkman in Ghostbusters to the sullen business traveler Bob Harris in Lost in Translation. Murray's dark comedy Groundhog Day is memorable because of the turmoil that happened on set, as he and director Harold Ramis reportedly clashed often about how the movie should play out. All of this baggage might have affected Murray when he attended a performance of the musical Groundhog Day, currently playing on Broadway. Because according to reports, Murray was openly sobbing by the show's end. He told the cast, after the show:

Bill Murray's reaction to the performance of Groundhog Day: The Musical was annotated by The NY Times, who chronicle the evening's emotional beats as Murray and his brother, Brian Doyle-Murray (who also had a role in the 1993 comedy), took in the show. They say he laughed along to one-liners in the opening act, and was visibly moved to tears by the ending. Murray even needed a minute to gather himself during the cheers that greeted the cast at the end of the show. Murray also was heard exclaiming "Wow" during Rebecca Faulkenberry's rendition of the song Playing Nancy. Listen to that track right here:

Groundhog Day, a 1993 comedy, stars Bill Murray as a conceited weatherman ordered to cover the annual ceremony of the groundhog seeing his shadow in Punxsutawney, Pennsylvania. Only, because of the shit way that he treats the townsfolk and his own crew, Phil (Murray) is forced to relive the day over and over until he corrects some cosmic mistakes. Reflecting on the power of the story to the NY Times, after the musical, Murray comments:

It has to be strange to see a character who you brought to life being used in a different format. Particularly if Murray had chosen to distance himself from Groundhog Day because of the difficulties that came with making the movie -- and the fact that Murray recently lost his friend and collaborator, Harold Ramis. Have you seen this show yet? Would you want to?

Later this week, the mystery thriller The Gift arrives in theaters. Aside from getting fantastic reviews, the film also marks the feature directorial debut of actor Joel Edgerton. He’s helmed at couple of shorts, but this is his first go round in the big chair for a full-length movie. (Edgerton also wrote the script, but has more of a history with that side of things, including coming up with the story for the 2014 post-apocalyptic joint The Rover.)

With this release, Edgerton joins the long list of actors who have moved from in front of the camera to behind. As The Gift is getting high marks from critics (our own review gave the film four out of five stars) and looks like it’s going to wind up being well regarded, we thought we’d take the opportunity to look back and examine the directorial debut of some other actors who killed it their first time out of the gate.

Tom Hanks—That Thing You Do

After starting out in comedies like Bosom Buddies, Bachelor Party, and Splash, Tom Hanks went on to become one of the most celebrated actors in Hollywood. With multiple Oscars in his trophy case, just adding his name to your movie increases the prestige factor a few degrees. In 1996, he made his feature directorial debut with That Thing You Do (which he also wrote). Following a small town band on the road to success in the 1960s, the film turns a critical and satirical eye on show business, wrapped up in a light and fluffy story about friendship, and Hanks manages to skirt cliché and deliver a sweet, delightful debut. He only has one other directorial feature to his name, 2011’s modestly received Larry Crowne.

Robert Redford—Ordinary People

By 1980, Robert Redford already had 20 years of on-screen acting credits on his resume, but he had long harbored the desire to direct. Well, he got his chance with Ordinary People, a drama about the dissolution and disintegration of an upper-middle-class family, the Jarretts, after the death of their son. And what at debut it was. Not only was the film heralded as one of the best movies of the year, it walked away with a nice assortment of Oscar hardware, including a statue for Redford as Best Director. Though he continues to direct, and act in movies like All Is Lost and Captain America: The Winter Soldier, not to mention he founded the Sundance Film Festival, none of his subsequent efforts have topped that first one.

Charles Laughton—The Night Of The Hunter

Though it was not a critical or popular success when it was first released in 1955, Charles Laughton’s The Night of the Hunter has continued to grow in esteem and find new fans who recognize it as one of the most viscerally frightening movies of all time. Which isn’t bad considering that Laughton, making his debut behind the camera here, would never direct another film, though he did go on to appear in more, including Spartacus, before his death. With an influence that is still felt today, Hunter is a combination of Expressionist horror and film noir stylistics that still features one of the all time great villainous performances in Robert Mitchum’s Reverend Harry Powell.

Rob Reiner—This Is Spinal Tap

Starting off your career as a director with a movie that has become renowned as one of the funniest, most original comedies of its time, one that has spawned countless imitators, has to be a pretty good feeling. That’s just what happened to former All in the Family star Rob Reiner (he’s come so far from his days playing Meathead) and his initial foray into directing, the mock rockumentary classic This is Spinal Tap. The improv heavy movie follows over-the-top exploits of the eponymous hard rock act comprised of Christopher Guest, Michael McKean, and Harry Shearer, and though this was his first, Reiner has gone on to churn out beloved movies, including Stand By Me, The Princess Bride, and When Harry Met Sally, among others.

Dennis Hopper—Easy Rider

As an actor, Dennis Hopper was a countercultural icon, and his directorial debut, Easy Rider, showed the not-always-pretty, free-wheelin’, on-the-road lifestyle. A touchstone for an entire generation, and beyond, the image of Hopper, who also starred, and Peter Fonda living life on their choppers came to symbolize freedom. The film caught the attention of the nation and dug into the cultural landscape of the late 1960s, including the rise and fall of the free love generation, drug use, communal living, and the tensions that were at war within the culture at the time. Hopper would go on to direct notable movies like The Last Movie and Colors, and not-so-notable movies like Chasers (yeesh), but he would never again hit the same highs as Easy Rider.

Sarah Polley—Away From Her

Still likely best known for her acting roles in films like Go, Splice, and Dawn of the Dead, Canadian born Sarah Polley has made waves as a director. Her first effort, 2006’s drama Away From Her, based on an Alice Munro short story and chronicling the struggles of an older couple being torn apart by the effects of Alzheimer’s Disease, debuted at the Toronto International Film Festival, won tons of critical praise, and marked Polley as a director to keep in eye on. She followed that up with the dramatic comedy Take This Waltz starring Seth Rogen and Michelle Williams in 2011, and the acclaimed documentary Stories We Tell in 2012, which dug into the secrets and storytelling and mythmaking inherent in her own family. She has a long future ahead of her behind the camera, and we can’t wait to see what she does next.

Harold Ramis—Caddyshack

If you turn out just one movie as beloved as Caddyshack in a career, you’re doing pretty well. After all, we’re still watching Harold Ramis' debut and quoting it with our buddies 35 years later. However, the former National Lampoon and SCTV performer wasn’t done with his directorial output, not by a long shot, and though we lost him too soon last year, he left a trail of comedy classics in his wake. He followed up his Saturday Night Live alum-stocked golf comedy with National Lampoon’s Vacation, Groundhog Day, and more, not to mention that he also continued to act, showing up in movies like Ghostbusters (you may have heard of that one) and even small roles in recent films, including Knocked Up and Walk Hard, connecting with a whole new generation of comic filmmakers he helped inspire.

Kevin Costner—Dances With Wolves

Remember that year Kevin Costner won all the Oscars? Remember when his directorial debut, 1990’s Dances With Wolves, beat out Goodfellas for Best Picture? Goodfellas! And not only did Kevin Costner beat out Martin Scorsese for Best Director, check out the rest of his competition that year, you may recognize some of these names: Francis Ford Coppola (The Godfather Part 3), Stephen Frears (The Grifters), and Barbet Schroeder (Reversal of Fortune). Not only did Costner decide to direct his first film, he decided to kick everyone’s ass while he was at it. Though he made a splash right out of the gate, his follow-ups haven’t fared so well. In 1997 there was the post-apocalyptic mailman saga The Postman, which has largely been remembered as a punch line, and 2003’s western Open Range, which is a solid gritty genre picture, if not widely recognized. Fortunately for Costner, he still has his lucrative acting career to fall back on.

Danny DeVito—Throw Momma From The Train

Most recognized as an actor in the likes of Taxi, One Flew Over the Cuckoo’s Nest, and recently It’s Always Sunny in Philadelphia, Danny DeVito kicked off his new career as a director in 1987 with the blackly comic riff on Alfred Hitchcock’s Strangers on a Train, Throw Momma from the Train, in which he co-starred with Billy Crystal and the late, great Anne Ramsey. From there he went on to a varied career behind the camera with the dramatic comedy The War of the Roses, family film Matilda, and even the crime biopic Hoffa, not to mention the criminally underappreciated Death to Smoochy. Lately he’s mostly been directing shorts, though he does have a thriller called St. Sebastian in post-production, and we can always watch him as Frank on reruns of It’s Always Sunny when we need a fix.

Ben Affleck—Gone Baby Gone

Though he has gone on to greater success for helming The Town and the Oscar-winning Argo, Ben Affleck’s first feature film as director, 2007’s Gone Baby Gone, laid the groundwork for a successful side-career just in case that whole playing Batman thing doesn’t work out. And he got to put his little brother, Casey Affleck, in a movie. That has to earn him some points in the successful Hollywood version of a mother telling you to "let your brother play, too." The neo-noir crime story, based on the Dennis Lehane novel of the same name, Gone Baby Gone won a slew of awards, gathered near universal critical praise, and wound up on a bunch of best-of-the-year lists. Not only did it mark Affleck as a talent in a third area of filmmaking—in addition to his acting accolades, he also won an Oscar for writing Good Will Hunting—he used it as a stepping stone to even bigger things, including the upcoming Live by Night, another Lehane adaptation, and he’ll reportedly take the helm on an as-yet-untitled solo Batman film. Not bad for a kid from Boston.

We lost legends in 2014. Looking back over the notable celebrity deaths, names like Robin Williams and Joan Rivers mix with Hollywood icons such as Mickey Rooney, Lauren Bacall and Sid Caesar. The industry is a darker place because the shining talents of these amazing performers have been extinguished. Lucky for us, we’ll always have the creative work they left behind to remind us of their incredible abilities to entertain, to make us laugh, to make us think, and to make us smile.

Take a moment today to remember these outstanding artists who died in 2014:

Joan Rivers

Age: 81

Died: September 4, of cardiac arrest.

Best Known For: Her brutal honesty as a comedian, both on the stage, and on the E! Network as a fashion consultant. Rivers was a staple of the stand-up world for decades, running with the greats (Johnny Carson, Ed Sullivan) before establishing her own unique voice.

Watch This As A Tribute: The recent, eye-opening documentary Joan Rivers: A Piece of Work took audiences behind the curtain and showed how this brilliant comic truly lived.

Sir Richard Attenborough

Age: 90

Died: August 24, of natural causes.

Best Known For: Despite an incredible career both in front of and behind the camera, where he directed such incredible films as A Bridge Too Far and Ghandi, Attenborough will always be known for playing John Hammond in Steven Spielberg’s Jurassic Park.

Watch This As A Tribute: Do a double feature. Watch Jurassic to honor Sir Richard’s most-recognizable role. Then watch Chaplin to see how he and Robert Downey Jr. paid tribute to the brilliant silent-film star.

Lauren Bacall

Age: 89

Died: August 12, of a stroke.

Best Known For: Her on-screen partnership with the equally great Humphrey Bogart. The icon went on to conquer the stage and the small screen, earning multiple awards and nominations for roles in projects like Applause and The Mirror Has Two Faces.

Watch This As A Tribute: But it’s her Bogart-and-Bacall movies that will define her career, so fire up either crime noir The Big Sleep or Key Largo. Neither disappoints.

Mike Nichols

Age: 83

Died: November 19, of a heart attack.

Best Known For: Winning a damn EGOT. Seriously, no matter the field, Mike Nichols dominated it. Stage? Screen? He was a master, and the legacy he left behind proves it.

Watch This As A Tribute: My favorite Mike Nichols movie is The Birdcage. But if you are watching anything in his honor, it would have to be The Graduate, the film that earned him a Best Director trophy.

Robin Williams

Age: 63

Died: August 11, after committing suicide.

Best Known For: His rapid-fire comedic approach, initially, which boosted such movie and television projects as Mork and Mindy, Happy Days and Good Morning, Vietnam. But Robin Williams cemented his status as a legend when he deftly switched gears to drama, all without drifting too far from his amazing stand-up career.

Watch This As A Tribute: For comedy? Pop in Aladdin, and see how animation truly set Williams’ mind free. For drama, revisit Good Will Hunting, and skip to all of his heartwrenching scenes with Matt Damon.

James Garner

Age: 86

Died: July 19, of a myocardial infraction.

Best Known For: Two towering television personalities, Maverick (in the late 1950s) and Jim Rockford in the 1970s program The Rockford Files.

Watch This As A Tribute: Either of those television shows are appropriate, though if you want to see Garner’s natural Midwestern charms writ large, rent Murphy’s Romance and watch him chew scenes alongside Sally Field. Garner earned his first and only Oscar for his performance in the winning romantic comedy.

Ann B. Davis

Age: 88

Died: June 1, of a subdural hematoma.

Best Known For: Helping to raise the Brady kids on the seminal sitcom The Brady Bunch.

Watch This As A Tribute: As many episodes of the timeless ABC show as possible, particularly any that focus on Alice’s steamy relationship with Sam the butcher.

Bob Hoskins

Age: 71

Died: April 29, of pneumonia.

Best Known For: Being a fireplug character actor in several crime dramas. Bob Hoskins played the stereotypical Brit thug for films like The Long Good Friday, but finally spread his wings (so to speak) when directors gave him more chances in movies like Mermaids, Brazil, Made in Dagenham and, of course, Who Framed Roger Rabbit.

Watch This As A Tribute: It has to be Roger, which gave Hoskins his most animated co-star (har har) but also allowed the actor to rise to the occasion and show up his more energetic side.

Mickey Rooney

Age: 93

Died: April l6, of natural causes.

Best Known For: Being a consummate professional, a "lifer" in the entertainment industry who dabbled in virtually everything over the course of his entire career. Mickey Rooney started as a child actor, and was still acting when he died in his sleep. The man lived for entertaining, and he lived very, very well.

Watch This As A Tribute: Not Breakfast at Tiffany’s, that’s for sure. Rent The Black Stallion, which cast the tender and warm-hearted Rooney as a retired jockey who helps train the titular beast. Rooney earned yet another Oscar nomination for this part, one of his best.

Harold Ramis

Age: 69

Died: February 24, of complications of autoimmune inflammatory vasculitis.

Best Known For: Directing some of the funniest comedies in recent memory, from Caddyshack to Vacation and Groundhog Day. In front of the camera, Ramis was a Ghostbuster… and it doesn’t get cooler than that.

Watch This As A Tribute: Groundhog Day. It’s one of Bill Murray’s best movies, thanks to Harold Ramis’ whipsmart script and stellar direction.

James Rebhorn

Age: 65

Died: March 21, of melanoma.

Best Known For: Being a brilliant character actor for decades, transitioning seamlessly between television and film by being one of the classic "Oh, THAT guy!" actors. And yes, James Rebhorn regularly played a sinister dude, but don’t old that against Rebhorn.

Watch This As A Tribute: Homeland fans might point you to the Showtime hit, where Rebhorn recently played Carrie’s bipolar father. I’m sending you to Meet the Parents, where Rebhorn’s incredulous reading of the line, "It’s only a game, Focker," during the pool volleyball scene gets a huge laugh.

Shirley Temple

Age: 85

Died: February 10, of emphysema.

Best Known For: Being one of the industry’s most recognizable child actors. Shirley Temple broke on the scene at the ripe old age of five when she went on her first audition. The following year, she had at least three films under her belt, and had a nation wrapped around her adolescent finger.

Watch This As A Tribute: Bright Eyes was Temple’s first real hit, and contained what eventually became her signature song, "On the Good Ship Lollipop."

Sid Caesar

Age: 91

Died: February 12, after a short illness.

Best Known For: The live entertainment program Your Show of Shows, the 90-minute television program that paved the way for Saturday Night Live, MadTV and basically every sketch-comedy program you have ever watched.

Watch This As A Tribute: Sid Caesar was one of the billions of stars in the ensemble comedy It’s A Mad, Mad, Mad, Mad World. And while it might not have shown off his sharp comedic skills, it emphasized what a major movie star he was considered to be at the time.

Maya Angelou

Age: 86

Died: May 28, after months of poor health.

Best Known For: Poetry and writings that inspired millions, notably Hollywood’s top actors, writers, producers and directors. There are very few lives that weren’t touched by the celebrated author.

Watch This As A Tribute: The television mini-series Roots struck a chord back in the 1970s the way that Selma is resonating now. Angelou played the part of Nyo Boto, so dig up a copy if you want to see her act on screen.

Philip Seymour Hoffman

Age: 46

Died: February 2, of acute mixed drug intoxication.

Best Known For: Being the greatest character actor of his generation, arguably. Philip Seymour Hoffman made most movies better. And when a director was smart enough to hand him a significant role – from Truman Capote to Caden Cotard – Hoffman hit home runs.

Watch This As A Tribute: There are too many parts one could pick, and an infinite sadness when you realize that there will be no more roles on the horizon. Why not go with Boogie Nights, which features Hoffman as a mild-mannered porn crew member with an unfortunate crush on a rising star. Heartbreaking, in every sense of the word.

Groundhog Day is one of the best movies of the last 25 years. There’s simply no debating this fact. It’s ingeniously plotted, deliciously sweet and bitingly funny. And it only manages to reach these heights thanks to the nuanced yet commanding comedic presence of its lead actor, Bill Murray, as well as the subtle-yet-suave prowess of director Harold Ramis.

Of course, at the time, it was no surprise that the duo had once again delivered another rousing cinematic adventure that challenged the Hollywood elite in its own unerring fashion. But this would be the last collaboration between Ramis and Murray, as its shoot was clouded in so much mire and ill will that their friendship deteriorated completely. But what happened between the cinematic brethren on-set that ruined their previously fruitful companionship?

Well, in order to get a true grip of the story, let’s go back to the start – to when the duo first became chums. Having met at Chicago’s Second City, the infamous improvisational sketch comedy troupe, the two Illinois natives managed to bypass career-altering LSD trips and drug arrests via Saturday Night Live and SCTV to become two of American cinema’s most popular personalities of the 1980s. Between 1979 and 1993, they made six hugely successful pictures together, all of which, in their own inimitable way, have stood the test of time. Elements of Meatballs, Caddyshack, Stripes, Ghostbusters, Ghostbusters II and, especially, Groundhog Day can still be seen in Hollywood flicks to this day. But what can’t be replicated is the camaraderie and patter that developed between Harold Ramis and Bill Murray, both behind and in-front of the camera.

In a fascinating study of the duo's relationship, Uproxx reports that after making Caddyshack, Ramis said:

Then came Groundhog Day. Danny Rubin, who originally wrote the script, recalled how when Ramis started scribing his draft of the film, he immediately and instinctively played up to Murray’s strengths in order to get his old pal to play the lead. It worked, and Murray accepted, but he was experiencing incredible strife in his life at the time of filming and his behaviour on-set became more and more problematic. Not only did he fail to turn up on time, but he would throw tantrums, argue with Ramis over his directorial choices, and insist that the film be more moody and provocative than the straight-forward comedy Ramis desired. Ramis and Murray couldn’t even work on the script together alone, and the filmmaker resorted to sending Rubin to try and improve on the screenplay with the actor. Then when Ramis tried to call to hear about their efforts, Murray would simply ignore him.

Despite these issues, Groundhog Day was another huge hit for the duo, and ironically it managed to embrace both Ramis and Murray’s ideas, which combined perfectly to create a truly original cinematic tale. But this success didn’t eradicate their conflict, and Murray refused to ever work with Ramis again. Friends of the pair have since speculated that this was because Murray had grown tired of the idea that Ramis was responsible for his career. They didn’t speak to each other for 21 years.

During this time, Murray refused to discuss his former chum, while Ramis insisted that he’d repeatedly had dreams about the pair becoming friends again. When Ramis’ health started to plummet due to Autoimmune Inflammatory Vasulitis disease, his dream became finally became a reality. Brian Doyle Murray convinced his brother to visit the legendary filmmaker on his deathbed. The two chatted. About what we’ll never know. But when Ramis finally succumbed to his illness in February earlier this year, Murray sent out a solemn yet perfectly concise tribute that simply read: "Harold Ramis and I together did the National Lampoon Show off Broadway, Meatballs, Stripes, Caddyshack, Ghostbusters and Groundhog Day. He earned his keep on this planet. God bless him." He then added a heart-warming eulogy at the Academy Awards just a few weeks later:

But it’s Harold Ramis’ comments about himself and Murray, which he made shortly before he died, that truly sum up their escapades:

Forget about their private lives. That’s their business. Let’s just remember them together as the comedic heavyweights that they are, and always be. Now go watch Groundhog Day again to see them at their best.

With the sad passing of comedy legend Harold Ramis yesterday, many movie fans wondered what it would mean for the seemingly always in-development Ghostbusters 3. The project was already moving forward without Bill Murray attached, but now will they make the film with just Dan Aykroyd and Ernie Hudson? The answer to that question appears to be "yes," as The Hollywood Reporter has learned that Sony has plans to rework the script that they have been developing.

Sources have told the trade that director Ivan Reitman is going to be meeting with the heads of the studio to figure out exactly how they will move forward. Apparently the idea for the script was to have Ramis, Murray, Aykroyd and Hudson make cameo appearances in the second sequel and then "set up a baton-passing to a trio of newcomers," but that doesn't seem to work anymore. Instead, the script - which was written by Lee Eisenberg and Gene Stupinitsky - will have to be rewritten.

At the same time, other sources tell THR that Ramis' tragic death actually won't have too much of an effect of the story, saying, "He was always great to bounce something off of, and that will certainly be missed. But it won't affect the script."

Adding another layer to this story, TMZ caught up with Ernie Hudson yesterday, and when the actor was asked if there was any future for Ghostbusters 3 he said, "Well there can't be another Ghostbusters without Harold. It will be a Ghost- something, but it won't be... That was always my fear - that something would happen before we all got together." Basically, it doesn't sound like he is too on-board with this project anymore.

It's hard to say exactly where things stand with Ghostbusters 3 now. The original cast seems split, but the studio wants to move forward. THR says that no actor deals have been inked yet, which means that the movie is still probably very much in the development phase, but it should be the center of a lot of attention in the coming weeks.

As always, though, there is the big question: do we really want a Ghostbusters 3? How have the new circumstances changed the way you feel about the project? Answer our poll and relive some of the magic of the first two films in the trailers below.

This poll is no longer available.

Harold Ramis' death has likely left many of us feeling a mixture of sadness and fond amusement as we grieve but also remember some of his best work in comedy. For those of us who grew up believing that regular scientists could achieve superhero status with the right equipment on their backs, Ramis' face may be best associated with his role as Egon Spengler in Ghostbusters, and it's that film that MegaCynics referenced in their cartoon to pay tribute to Ramis...

The picture shows a ghosty Harold Ramis hovering over the ghost trap, while the other three wave goodbye. One stands just inches away from the pedal on the floor that would shut the trap. Ray, Pete and Winston look sad, but I like that there's a small smile on Egon's face.

Among the other fans reacting to Ramis' death is President Obama himself, who -- according to NBC News -- issued a statement reacting to the actor/director's passing, stating that Ramis was one of America's greatest satirist and a proud product of Chicago's Second City. He went on to specify some of the movies he and First Lady Michelle Obama remember best...

Ghostbusters director Ivan Reitman and Ramis' co-star Dan Aykroyd's statements were shared by EW. Of Ramis' passing, Aykroyd said he was "Deeply saddened to hear of the passing of my brilliant, gifted, funny friend, co-writer/performer and teacher Harold Ramis. May he now get the answers he was always seeking."

Ramis not only starred in Ghostbusters, but he also co-wrote it. Reitman spoke fondly of Ramis' ability to understand what was funny.

Ernie Hudson told TMZ that "Harold was the glue. There wouldn't be a Ghostbusters without Harold Ramis. Harold pulled it together. And I know I wouldn't probably be in the business, had I not had the chance to work with Harold at that time in my career. He taught me a lot." Hudson went on to say that there "Can't be another Ghostbusters without Harold."

And then there's Bill Murray's statement -- via Time -- in which he cites some of the projects they did together (Meatballs, Stripes, Caddyshack, Ghostbusters and Groundhog Day among them) and goes on to say, "He earned his keep on this planet. God bless him."

It's a simple statement, but it says a lot.

I like to think that making someone laugh from the heart leaves an imprint on them, and if that's true then Harold Ramis' contributions to this world run a bit deeper than simply making his mark on cinema history. He affected people, and that kind of contribution is lasting. As someone who grew up watching his movies, I have no doubt that some of my sense of humor was shaped by films like Groundhog Day and Ghostbusters, so I'm especially grateful for what Ramis gave us, and I know I'm not alone. You can read Sean O'Connell's tribute to Ramis here.

Our thoughts go out to Ramis' friends and family in their time of loss.

Harold Ramis shaped my sense of humor. If you watched a movie in the 1970s, ’80s or ’90s, he shaped yours, as well.

Similarly to the way we did when Philip Seymour Hoffman recently died, many film fans began poring over the films Ramis left us with upon his own passing. And similarly to Hoffman’s, his was a staggering output of unquestionable classics. Stripes. Knocked Up. Baby Boom. Stealing Home. Freaking Ghostbusters. Any actor would sell their first-born child to have one of those films on his or her resume. Ramis had all five, and then some.

When he transitioned to directing, Ramis showed the same sense of brilliant timing and witty, mild-mannered observational humor that made him the perfect straight man to the likes of Bill Murray and Dan Aykroyd in his finest comedies. Ramis also made the best possible decisions at the exact right time on his productions: In the casting sessions. His debut film? Caddyshack, a movie about a gopher terrorizing a ritzy golf course. Yet it remains a classic because Ramis assembled possibly the funniest ensemble to that moment, and maybe since:

Ramis let funny people be funny. He understood the strengths of his actors, and gave them scenarios with which they could excel. Chevy Chase looks like your typical suburban father on the outside, though he’s hiding a viciously sarcastic and judgmental soul that can penetrate your thinnest skin. Ramis put this to incredible use in only his second directorial effort, National Lampoon’s Vacation.

Ramis’ expert use of pop songs in his productions stands out in that clip, as well.

Arguably, Ramis’ masterpiece is Groundhog Day, a brilliant comedy that casts the bemused Murray as a seen-it-all newscaster who is forced to relive the same day over and over until he figures out how to escape his state of arrested development.

Ramis got high results out of medium-concept comedies like Multiplicity, Analyze This (and its sequel), and Year One, perhaps the biggest miscalculation on the filmmaker’s resume. And his career as a director – much like the one he had before the camera – was a consistent stream of beloved and often underrated features spun by a Midwestern storyteller who knew how to entertain the masses.

Today, however, we lost a Ghostbuster, and it’s for that reason I’ll truly mourn Ramis’ loss. His invaluable contributions to Ivan Reitman’s supernatural comedy captured the best of Ramis’ gifts in one peculiar role. Egon was the level-headed, calculated, balanced anchor to the dreamer (Aykroyd) and the skeptic (Murray) in the group. And Egon’s approach to each bizarre situation in the Ghostbusters movies reflected Ramis’ approach to comedy. Often, he would hang back, letting his co-stars chew the scenery. But he knew, in the back of his mind, exactly when it was the right moment to step forward and deliver a dry, dead-center punch line. That timing is nearly impossible to teach, and Ramis was like a well-tuned comedic clock.

Look at the way he looks around at the cell mates as they gather to hear his story. He recognizes his audience. He knows he has them in the palm of his hand. And he begins to play to them. That’s what I’m going to remember about Ramis. That’s what I’m going to miss.

Harold Ramis spent almost his entire life making people laugh. For more than forty years, he churned out hysterical screenplays, collaborated with the titans of showbusiness and directed some of the most beloved comedies ever made. Sadly, at the age of 69, that brilliant ride is now over.

Details are still very fuzzy at this point, but according to TMZ, he passed away at his Chicago home from autoimmune inflammatory vasculitis early this morning after a multi-year fight with the illness. His family was there at the time, including his longtime wife Erica who he married in 1989.

After writing plays in college, Ramis got his start working for the Chicago Daily News and contributing to Second City. From there, he was hired as Playboy’s joke editor and later worked alongside John Belushi and Bill Murray on The National Lampoon Radio Hour. That job turned into head writer of SCTV, which turned into a screenplay co-writer for Animal House.

During the years that followed, Ramis either directed or at least co-wrote Meatballs, Caddyshack, Stripes, Ghostbusters, Groundhog Day and Analyze This, and in doing so, he gained a reputation as one of the most brilliant comedy minds working in the industry. He also proved a major influence on a ton of burgeoning directors, including Judd Apatow who cast him as Ben’s dad in Knocked Up.

Ramis’ first effort as a director, Caddyshack, was so troubled he was almost replaced partway through. Thankfully, the studio stuck with him, and it helped him to learn something important that he carried with him the rest of his career. Making a comedy isn’t about experience or camera tricks. It’s about giving funny people, funny material. It’s about giving them a great premise from which they can prove how brilliant they really are. It's about giving them space to do their jobs, even if that means letting them making weird noises or talk out of the sides of their mouths. So, throughout his career, Ramis took great pains to incorporate as many battle-tested performers as he could, even if he could only get them for six days, as was the case with Murray in Caddyshack.

Ramis was a brilliant director, a skilled writer, a family man and by all accounts, a hell of a nice guy. His shadow will linger over Hollywood for decades to come.

Before I even get into this story, yes, I realize the source here is the National Enquirer, the tabloid you see at the grocery store checkout line and generally dismiss whatever nonsense they have on the cover. But this is also the tabloid that first broke the story of John Edwards's affair and love child, so they don't always make up their stories. And the story the Enquirer is reporting today, about Bill Murray's supposed response to the latest draft of Ghostbusters 3, is enough in line with the guy's cranky behavior that I'm inclined to believe it-- or at least hope it's true.

Anyway, according to the tabloid, Murray recently received in the mail the latest draft of Ghostbusters 3, the follow-up to the hit 80s franchise that has been delayed constantly by many factors, though mostly Murray's stubborn resistance to make it. Last he talked about it Murray claimed he hadn't read the script, but according to the Enquirer he not only read it, but shredded it, put it in an envelope, and sent it to Dan Aykroyd and Harold Ramis with the note, "“No one wants to pay money to see fat, old men chasing ghosts!"

I mean, he's not wrong-- throughout the entire development process of Ghostbusters 3 there have been plenty of us out there questioning the very concept, and at one point the movie was going to be not a sequel but a reboot, with young, hot people strapping on the proton packs. All the other fat, old men involved in the franchise seem to be willing to go forward, but I have to imagine they've all thought to themselves that Murray might really be saving them, preventing the existence of something that could be truly, wretchedly embarrassing.

In the years-long history of Murray hating Ghostbusters 3 no one has really seemed willing to give up on the idea entirely, and rumors have flown that they might make the movie without him. This latest story seems to suggest they'll have no choice-- but come on, can't we listen to Murray just this once and ditch the idea? Shred all copies and we'll just pretend the whole thing never happened.

I can understand the recession slowing down indie projects, or maybe the kinds of movies that require a gigantic budget. But Ghostbusters 3? A movie so highly anticipated it's taken 20 years to even start getting it made?

According to Dan Aykroyd, though, the recession is precisely what's getting in the way of getting this movie finally off the ground. At a book signing for his father's new book A History of Ghosts, Aykroyd was asked by Hounds TV about the movie's status, and stressed that there's no greenlight for the film yet, despite a finished script. "Until we have a greenlight, we can't stick the pump into the mega corporation and draw the honey." Meaning that no studio has ponied up the money yet, and those blaster guns aren't paying for themselves.

You may remember that Bill Murray was expressing some reservations about doing the film at all not so recently, though he was also claiming that no script is finished. So with these two sourpusses around, does Ghostbusters 3 have a chance? Someone needs to call in Harold Ramis to talk these guys down.

We got an hour with Harold Ramis for our roundtable interview-- an entire hour with the man who directed National Lampoon's Vacation, who was an original Ghostbuster, who helped write Groundhog Day, for god's sake. And though he was on hand to talk about Year One, his new comedy in which he turns Jack Black and Michael Cera into cavemen, Ramis was happy to talk about his entire career, from working with a camel on Vacation to the plans for a new, third Ghostbusters movie. He also gave an amazing, long-winded dissertation on the evolution of New Comedy, which included himself, Bill Murray, Dan Aykroyd and other SNL originals, and how it led to the current Judd Apatow crew. Seriously, it was a marvel.

For the sake of clarity, I've divided the interview into sections, starting with the Ghostbusters stuff-- talk about the new video game and the upcoming movie-- and ending with Year One. I promise the whole thing is worth a read-- Ramis has witnessed and shaped the entire evolution of American comedy in the last 25 years, and is happy to talk about it. Year One opens this Friday.

When the idea of the new Ghostbusters came up, were you relieved to hear they went to you guys about it rather than just get a new cast?

There is no they. We are they. Contractually, Columbia has never disputed that we're their partners in ghostbusters. They can't do anything without us, and we can't do anything without them. It always required a unanimous vote with all the principals.

Is that your next project?

For me it's not really a project. I've had fun laying out the story of the new one with Gene and Lee, and they're writing the script.

How does the new video game fit into the Ghostbusters mythology?

The people who designed the games, they grew up on the movies. There's never been a good Ghostbusters game, and they thought it was time. They came to us with a proposal, and we al signed off. They showed us illustrations and gave us a rough sense of what the plot of the game might be. We all said why not. We consulted at every stage of the game. As they developed it they would show us Animatics and pictures. The script idea was refined and refined until they had a shooting script.

You've worked with a lot of comedians over the years, from SNL to now the Apatow crew. Do you see different approaches among the different comedians? And what did you take away from your first project with Apatow and company?

Well, in general, when I started in comedy there was a great schism. There was old school and new school. Old school were stand-ups who had been conditions in the Borscht Belt and Las Vegas and Hollywood, in the slick Vegas style. And it was kind of generational, the people our parents laughed at. And it could be very funny. When I was 16 I went to a nightclub in Chicago and saw Lenny Bruce live, and he was arrested like on his very next engagement in Chicago. It began this series of arrests and the trials that kind of ended his career and his life. He got so depressed and so serious about it he finally overdosed. Lenny as the beginning of something new, and Mort Soll took a more accurate, political approach to things. But the new comedy did not emerge until Second City. It was the birth of the new comedy. Mort Soll's satire, it allowed for a Lenny Bruce kind of social attitude. They put it on the stage and made it popular. And that's what Lorne Michaels kind of brought to television. The National Lampoon had a big part to play. The Harvard Lampoon was very funny, much broader and crueler than Second City. The Lampoon went national, with the magazine and the stage show and the radio hour. And Lorne Michaels just cherrypicked from Second City and the other companies. But Gilda and John Belushi and Bill were Second CIty, Chevy Chase was Lampoon, Christopher Guest was Lampoon too. So that became the new comedy. Saturday Night announced its arrival on television, Animal House was the first of the films. Caddyshack was the second. Our press junket was such a disaster for Caddyshack. Someone wrote 'If this is the New Hollywood, let's have the Old Hollywood back.' But more than being the New Hollywood, we were the new comedy. I grew up on the Marx brothers and the old Borscht Belt stand-ups, and Judd grew up on the new comedy. Also I'm totally neglecting the British tradition, which has been great. There's a strain there that's very significant. So I'd lost touch with the Judd generation. I knew they were out there, I knew they were talking about our stuff. Judd and I finally met. He says he and Seth stalked me at the Del Ray FIlm Festival, but really, we were in the same hotel, they called me. So they came to my film, The Ice Harvest, and I went to their film, The 40-Year Old Virgin, and we came out as friends. And then Judd asked me to appear in Knocked Up as Seth's father, and that kind of cemented something for both of us. Also I'd already appeared with Judd in Orange County Jake Kasdan was also, even though he was Larry Kasdan's son, he was from the Apatow school. Really Orange County was the beginning, then I cemented my place in their world with Knocked Up. Then I asked Judd to produce this movie with me. That was a desperate attempt to connect with this whole generation.

What do you think the impact of television has been on that generation?

I was raised by TV, but these guys were raised professionally by it, in the sense that they honed their writing skills around a table like this, with a bunch of writers. They're very collaborative. To the same extent that this generation now does mass dating, a bunch of guys and a bunch of girls go out together. And they're constantly in touch, texting each other. There's much more groupthink. This belief in the table as writers. If you have an idea, you put it out to the table. When Judd first came into this project, I already had a first draft of Year One, and he said 'You know, I'd like to bring three or four writers to the table. We'll shoot you some ideas.' I said, 'Fine, invite some writers.' I think 17 writers showed up, if only to look at me. 'Yeah, that's the Animal House guy.'

You've worked with the new generation of comedy when you directed a few episode of The Office. Is that how you met [Year One co-writers] Lee Eisenberg and Gene Stupnitsky, and what was that experience like?

The fact is Gene graduated from the University of Iowa and came to my office that summer to be an intern. So he interned for me, and then started watching my kids for me, just hanging out. He started watching my friends' kids-- he called himself the manny. He's a smart, funny guy, and started writing spec scripts. in the meantime we were having dinner on Martha's Vineyard, and Lee Eisenberg waited on us. He just finished film school. I said that's a smart, funny young fellow, and he never presumed, never asked my e-mail or office address or tried to hand me a script. The next season I was shooting Bedazzled in L.A. and also on a pilot, and Gene came to work as a PA on the pilot, and Lee independently called my office and got on as a PA on Bedazzled. They met in my office, and started writing together, lived together with some other young writers, and started churning out specs. They wrote a good pilot that didn't get produced, but it got them work. It got them on the Office staff. And Greg Daniels, creator of The Office, he knew my stuff, and they were trying to keep the cast happy by bringing in directors who might be fun for them. Gene or Lee suggested me, or my name popped up. As a director on The Office, there's a tremendous weight that comes with directing features. I was being asked to direct a show that had already won an Emmy for Best Comedy. Steve Carell and the cast had already won the Screen Actor's Guild Awards. The cameraman had shot every episode of the show. THe writers of the episode sit with the director and take you through the script. And Greg Daniels watches every shot you take. So I thought, this is not a job, I'm going to sit and watch these guys film an episode of The Office. There's a false humility in that, I made some contributions in each stage. But you can't fail at this job. They won't let you fail.

When you look back at your career, are there things you think you would do differently? Or things that you can't believe you pulled off?

Yeah, someone once said that movies are not finished, they're abandoned. You keep working on it until the studio just rips it from your hands and has to release it. Same with the script. Same every shooting day. You could keep going endlessly on every scene. But as Rodney Dangerfield once said to me, Harold, there's no perfection in life. And he was right. especially in art. Literally you do the best you can. Someone once said to me, every movie you make is three movies-- the movie you set out to make, the movie you think you're making, and the movie you find out you've made. So once you find out what movie you've made, then it's immutable. It's never going to change. I could recut the beginning of Club Paradise now, it could be really cool. of course, no one is asking me to go back and fix it. With every movie, I call it the cringe factor. How many times do I watch my movies and think 'Ugh. I could have done that better.'

With that in mind, in this era of remakes, if you had to do a remake of any of your movies, which would you remake?

I would remake Club Paradise. I thought the story was cool, the setting was great. Everything lined up, except i wrote it for Bill Murray and John Cleese. They were onboard when I wrote it, and when it came time to make it Murray said 'Eh, it feels like I would be the guy from Meatballs, the camp counselor for grownups.' And John Cleese didn't want to leave home, didn't want to be in the West Indies for three or four months, which was what the film required. So Robin Williams was happy to do it, and Peter O'Toole agreed in 24 hours. And that kind of flipped the polarity of it. I wrote it for Bill, who's kind of low-key, and I got Robin, who's completely explosive and all the wall. John Cleese is manic and out of control, and Peter O'Toole is all British control. So once the polarities flipped, the script should have been rewritten for them. But we didn't. I was thinking of Fawlty Towers. My original conceit was to take John Cleese as Basil Fawlty and make him the governor of an island. And Murray I was imagining as a white Rasta, the coolest white guy you've ever seen.

Where do you start making a film like this?

Every film that I've actually written, it starts, it's all in your head. I don't know what it is for people who don't work in comedy, but in comedy, you look forward to the possibility of one, realizing the fantasy you put down on paper, and two, fleshing it out with the funniest, nicest people you can find. 99% of the screenplays that are written don't get produced. But when you write a fantasy, especially an epic fantasy, and responsible adults say 'Yeah, we'll put up the money for this,' it's like, wow, I'm already way ahead.

So how is this different from any other film you've made?

My current work, my new work, is always my favorite work. I always hope it will teach me something I didn't know before. If this was television, and I worked 7 years doing the same show over and over, you pretty much know what to expect. But every feature film, it's like a grand adventure. You go on it with different people every time. Jack Black and Michael Cera are amazing allies to have. I had Judd Apatow not with me, but with me in spirit. Certainly he was an ally back in L.A. It's the nicest job I can imagine having. This film in particular, just the journey itself. I've made one other journey film, National Lampoon's Vacation. It was a lot of fun traveling with the whole crew, like being part of a circus. And the ideas of this film. As silly and broad as this movie is, the intellectual and philosophical underpinnings are so meaningful to me, and gave me a chance to explore these ideas, at least in my own head. Whether they translate or not, I don't know.

So will the sequel be called Year Two?

Our joke was that the sequel would be called Year One Two. When I've been making a film, I've never seriously thought about a sequel. It's not like I needed to explore Bible stories because I think those stories are funny. I was trying to explore Genesis in the context of some political and social ideas that I had, and some psychological ideas. In my mind, having dealt with those, I don't need to do that again. If the public wanted to see more funny Bible stuff, I suppose Sony would get someone else to do the Moses section.

Did you do research, like in the Bible?

Oh yeah, absolutely. A lot of times I find that my research is unintentional. It's more like the work I do is a synthesis of what I've already been reading. The big ideas in the movie I've been thinking about for more than 10 years.

The jokes about circumcision in the movie are great, and you think about it, and you're like "Where did that tradition come from?"

That's what I was thinking. How did people react when Abraham, out of the blue, said 'I think I'm going to cut off my foreskin, and every other in the guy in the village should do so as well.'

What was your research into all this circumcision stuff?

Well two things about that. When we got to the eunuch section, played by Kyle Gass, the second half of Tenacious D. Or the first half of Tenacious D. We already dealt iwth circumcision, and eunuchs have been around for a long time also, and where did that idea come from. People don't laugh, Michael's delivery is not intentionally a joke delivery. But I thought, this is the first time in a movie someone is going to say, what's up with all of the genital mutilation? Which is a real issue, still in parts of the developing world. But what is it? Is there some deep psychological revulsion with our genitalia?

When you get actors like Jack Black and Michael Cera, who are so skilled at improv, what kind of stuff happened in front of the camera that surprised you?

Well, I'm always surprised. Sometimes not happily surprised. But improv's now part of the job. Virtually everyone who's doing comedy today has been trained at one of the improv schools. Jack has that training. Michael's been raised in television. I looked up his IMDB thing, and he was 9 years old when he did his first commercial. But he fell in with all these improvisers, and he's so smart, he can roll with anything. Superbad I'm sure had a lot of improv. So even the stand-ups, it's not so rigid anymore, that you're either stand-up or improv. Most people are crossing over. You know, when you're writing a script, you do your best. At a certain point the studio says, OK, let's make the movie. You're not really finished with your script. It doesn't mean that your last idea is your best idea. So each day, part of my job is to do the script, do it as well as we can do it. Write every idea we can think of. Then turning actors loose completely, and say go.

What makes a good comedy pairing?

There's so many good kinds of teams. It's like every relationship we have with women-- two people who complete each other. You usually bond with someone who's not just like you, who has what you don't have. It's always Mutt and Jeff, Laurel and Hardy, Abbott and Costello, the straight man and the comic. And if they're both comics, they're different kinds of comics. So Jack and Michael, they're a great physical pairing. When we showed people pictures of them in their wardrobes, people laughed, before they heard a word spoken. It's funny, these two guys. They just look funny. Jack's a human cartoon, even when you see him in the street. He's very big, Jack will just do mug, he'll do anything you ask him to. He'll drop his pants, you don't even have to ask. Michael's so introverted and subtle and real awkward--and yet he's not really an awkward person.

What were their interactions on set, as a result of being so different?

Jack is actually a much more serene person than he appears onscreen, and Michael is much looser and more fun than he appears. And they're both really good musicians, and I play guitar and sing. Our cameraman is a guitarist, so we always had two guitars behind the monitors where we all sit between shots. There was always playing in different combinations. Jack and Michael would sing in close harmony, and improvise music.

There are a couple of situations in which Michael Cera's character gets into trouble with animals, like the snake and the cougar, but we don't see how he gets out of it. Can you talk about that choice?

It's almost not a choice. You know, they warn you if you're going to be a film director, avoid the ABC--- animals, boats and children. Because you can't control them. Of course we wrote a film with animals in every scene, and things for animals to do. When I did the film National Lampoon's Vacation, there's a scene where Chevy is stranded out in the desert. I wanted to have him fall down on the ground and have a guy come by on a camel. We got a camera out from California, and we're rolling, and it's 'Where's the camel?' [And the trainer explains] 'The camel, he's not comfortable walking on the sand.' He's from Burbank. So in this movie, I wanted Michael to be attacked by a cougar. We even had a scene where he's attacked by an eagle. We cut that out. So the cougar-- we had the cougar from Talladega Nights. This cougar worked with Will Ferrell. Even I haven't worked with Will Ferrell. So I said, I need the cougar to walk out on the tree limb, leap from the tree limb to a stuntman, wrestle with the stuntman. So it's the middle of the night, we're shooting. They bring out the cougar, and he won't go out on the tree limb. It was literally 3 in the morning ,and we're standing waiting for the cougar to come out. So we ended up with a CG cougar. You know, not everything in the movie's a choice. A lot of things in film are the result of people doing the best they can under the circumstances.

When you're dealing with a lot of funny actors in background roles, in a movie this big, how do you work with everyone?

It kind of relates to Ghostbusters in a way. Ernie Hudson was new to the comedy world, and being the fourth Ghostbuster, he would have ideas, and he would talk to Ivan Reitman, and Ivan would kind of put him off. I could see how disappointed he was. He said to me, I think Ivan doesn't like me, and I said, no no no, Ivan really likes you, but here's how this works. Bill gets this much money, and is the headliner. Danny gets a little less than Bill, and he's the second headliner. And I get a lot less, and I'm like third, because I actually wrote the script. So you're fourth. So when there's a really wide shot, we're all in it. If the shot's a little less wide, you're out. If it's a two-shot, it's not going to be me and Bill, it's going to be Danny and Bill. So there are pecking orders. I've had day players who, to them, that's their chance, that's their shot. They're playing Hamlet all of a sudden. You can only go so far, there's only so much time. Oliver, for instance, he loves to talk about his character, and it's fun to talk to him. But it's comedy. Someone at Second City said, in comedy, you wear your character lightly, like a hat. You don't want to spend too much time overthinking these things, but you want to give each actor what he needs. In general, most funny films, they're funny because they have great comic performances at the heart of them. Most of them, they know their place in the film. They know the whole thing is not going to stop and revolve around their moment.

Harold Ramis is doing the rounds of publicity for his upcoming comedy Year One, and you know what that means: more Ghosbusters 3 rumors! Coming Soon had Ramis on the phone today, and he confirmed that he's still waiting to see the first draft from The Office writers Gene Stupnitsky and Lee Eisenberg, and will see where things go from there.

"Everyone says they'll do it, they've all said they'll do it. No one has signed anything yet--we haven't signed anything either--but there's the spirit of willingness in the air."

Ramis also suggested that, whoever directs, the movie, it might not be either him or Ivan Reitman, who directed the first two. "I don't think he wants to; I'm not sure I want to (direct). It's just a lot of open questions. Until we see a script, I don't think anyone really knows how they feel about it. Everyone's open to doing it, that's the main thing, that's what got it moving forward."

I'm pretty sure it's not necessarily Reitman's potential direction, rather the participation of the original cast, that has everyone tentatively excited about this. Will the movie be better if Reitman or Ramis, now an established director himself, handles it? Maybe. But it's just as likely that, with a new cast taking the story in a new direction, a fresh face could handle things even better.