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Have Love Will Travel • 2003

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  • Have Love Will Travel

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Have Love Will Travel

May 20, 2003 14 Songs, 40 minutes ℗ 2003 DKE Records

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‘The Blues Brothers’ was gloriously dumb. It still matters.

A new book delves into the crazy true story behind the making of a film that became a cult classic and turned john belushi and dan aykroyd into screen legends.

Does “The Blues Brothers” deserve a book? In the pantheon of gloriously dumb movie comedies derived from “Saturday Night Live” and The National Lampoon, the 1980 John Belushi-Dan Aykroyd R&B farce sits a notch below “Animal House,” “Caddyshack” and “Ghostbusters.” Maybe two notches. An absurdist demolition derby of a film, it’s most memorable for spotlighting soul-music legends like Aretha Franklin and James Brown and providing a loving portrait of Chicago at its smoggiest and seediest.

But is it book-worthy? Arguably not. Still, Daniel De Visé makes the case in his subtitle, “The Blues Brothers: An Epic Friendship, the Rise of Improv, and the Making of an American Film Classic,” that his book isn’t just about a movie.

It’s a triple-helixed biography of the main contributors to the counterculture comedy revolution of the post-’60s: “SNL,” the Lampoon and the Second City comedy troupe in all its stage and TV iterations. It’s a tale of Hollywood excess — both budgetary and pharmaceutical — that beggars belief. And, at its essence, it’s the story of a great American bromance, a partnership that was kept alive by one man’s creative discipline before crashing on the rocks of another man’s addictions.

De Visé, a journalist and the author of books on B.B. King and Greg LeMond, leans heavily on previously published group biographies: Bob Woodward’s 1984 Belushi bio “Wired,” Tom Shales and James Andrew Miller’s 2002 “Live From New York: An Uncensored History of ‘Saturday Night Live,’ ” and two books by Belushi’s widow, Judith Belushi Pisano, among others. But De Visé has gone back and talked to many of the principals as well as the secondary and tertiary figures, and he’s read and listened to every interview. This is a well-researched book.

Better, it’s a well-told story, one that rarely loses it focus on the larger picture — the many forces that came together to create comedy by the baby boom generation for the baby boom generation — while engaging the reader in a close-up view of two very different, very funny men.

“The Blues Brothers” goes back to its star-duo’s beginnings: Belushi’s Chicago childhood as the class-clown son of Albanian immigrants and Aykroyd’s early years in Ottawa, Ontario, where Tourette’s Syndrome made him the target of bullies. Both men rose through local comedy groups to star in their respective Second City outposts of Chicago and Toronto, but Belushi was tagged early on as a comic force of nature. By the time he met Aykroyd, he was scouting Second City Toronto for “The National Lampoon Radio Hour,” where he’d already become a breakout talent. On their first meeting, Aykroyd told a radio interviewer, he felt “the jump you get when you see a beautiful girl. It was a pit-of-the-stomach feeling.”

Belushi brought the manic slapstick to the first “SNL” cast, and Aykroyd brought the inspired weirdness — remember the “Bass-o-Matic”? — and a deep, abiding love for American R&B, which he quickly imparted to his new best friend. By the time “The Blues Brothers” movie came together in 1979, Belushi had become a movie star by way of “National Lampoon’s Animal House,” the two had debuted their fedora-and-shades R&B alter egos, Jake and Elwood Blues, on “SNL,” and Belushi’s intake of cocaine and other substances had swollen to frightening proportions.

Indeed, everything about the “Blues Brothers” shoot, which forms the detailed heart of De Visé’s book, seems staggering even today. Originally budgeted at $5 million, under director John Landis the production ballooned to over six times that much. Shooting the car chase through the shopping mall alone cost nearly a million dollars. The film set a record for the number of automobiles destroyed in a single film: 103.

Was it worth it? Your mileage may vary. For the most part, critics in 1980 hated “The Blues Brothers,” but audiences embraced it, and it remains a peculiar artifact of Hollywood overkill, funny in its baffling too-muchness. The musical numbers are still the best part, and De Visé is wise to address the accusations, then and now, that the movie and the accompanying Blue Brothers concert tours and hit records represented White cultural appropriation of Black music at its most blithely entitled. But he also reminds readers that the careers of Franklin, Brown, Ray Charles and Cab Calloway were all in serious decline, and that the film gave them new audiences and renewed success that lasted well beyond the film.

The one thing the author fails to address — and it’s hardly his blind spot alone — is how Belushi was allowed to destroy himself while the entertainment industry watched and fans cheered. The “Blues Brothers” set was awash in cocaine — it literally arrived packed in film-reel canisters — and while the studio hired a former Secret Service agent to babysit Belushi, the comedian had plenty of star-struck crew members and hangers-on to bury him in blow. The picture De Visé paints is of a comic genius hurtling toward oblivion as fast as he can, fueled by misery, drugs and enablement. Many times in this book a reader may pause to wonder why production on “The Blues Brothers” wasn’t simply halted while John Belushi got the help he needed. The unwritten answer is that this would have jeopardized the profitability of the movie and its struggling star. The story here isn’t just about a film, a friendship and a comedy generation. It’s about a man who became a commodity until it killed him. But that’s another book.

Ty Burr is the author of the movie recommendation newsletter Ty Burr’s Watch List.

The Blues Brothers

An Epic Friendship, the Rise of Improv, and the Making of an American Film Classic

By Daniel De Visé

Atlantic Monthly Press. 400 pp. $28

We are a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for us to earn fees by linking to Amazon.com and affiliated sites.

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Den of Geek

Before Ghostbusters, Dan Aykroyd Wrote a Bizarre Blues Brothers Script

The first-ever movie script written by Dan Aykroyd was an epic meta-textual tale about Catholicism, magical cars, and the Blues Brothers.

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The Blues Brothers

One day in 1979, the phone rang at producer Bob Weiss’ house. “Be on your property tonight,” said the voice on the other line. According to the book Wild and Crazy Guys: The Comedy Mavericks of the ’80s Changed Hollywood Forever by Nick de Semlyen, later that evening, an object came flying over the fence and onto Weiss’ backyard. It was the script for a Blues Brothers movie that Wiess commissioned from Dan Aykroyd , who created the musical comedy act with John Belushi for Saturday Night Live .

If the way that Aykroyd delivered the manuscript was odd, the contents inside were even weirder. Titled The Return of the Blues Brothers and credited to the “Scriptatron GL-9000,” the script was 324 pages long, far more than the 120 page standard, and filled with unlikely digressions.

Weiss shouldn’t have been surprised. Even if the 26-year-old Aykroyd had written a script before (he hadn’t) or even seen a script before (he hadn’t), he likely would have turned in something weird anyway. Long before the legendary production mess that became Ghostbusters and the even more unwatchable mess that became his directorial debut Nothing but Trouble , the ever idiosyncratic Aykroyd wrote an absurd script about two Chicago guys on a mission from God.

The Birth of the Blues Brothers

While the Blues Brothers were initially brought to Saturday Night Live to warm up the crowd before tapings, the duo finally made their first official appearance on the show on Jan. 17, 1976. But they didn’t wear Jake and Elwood’s distinctive suits and raybans for their debut. Instead, they wore bee costumes.

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Such were the stipulations of SNL producer Lorne Michaels, who had no faith in the Blues Brothers project. And with good reason, because it wasn’t entirely clear what the Blues Brothers were. The Canadian-born Aykroyd developed a love of all things blues as a young man, and he shared that with Chicago-native Belushi. The two enjoyed playing music together, Belushi belting out lyrics and doing somersaults while Aykroyd wailed on the harmonica, but they weren’t exactly a band.

When they took the act to Michaels, he rightly assessed the Blues Brothers (so named by Howard Shore, SNL’ s first music director and later Oscar-winning composer of the Lord of the Rings movies) as not really a satire and not really an homage. And yet, it was enough for the equally indescribable Steve Martin , who asked the boys to open for his nine-city comedy tour. With the help of David Letterman’s band leader Paul Shaffer, the Blues Brothers gathered a band consisting of members of the soul legends Booker T. & the MGs and went on tour.

So successful were the Brothers that Belushi, still firing on all cylinders from his 1978 hit Animal House , suggested that the band become a movie. Somehow, Weiss agreed. And somehow, they all left it to Aykroyd to write the script.

A Messy Mission From God

If you’re the type of person to hang around a website called Den of Geek , you’re probably aware of Aykroyd’s gonzo original script for Ghostbusters . The script, titled “Ghost Smashers,” was written for Aykroyd, John Belushi, and Eddie Murphy , and featured a trio of paranormal hunters from the future going across multiple dimensions in a dark horror epic.

Aykroyd applied the same approach to writing a Blues Brothers movie, filling it with every idea and interest that jumped into his imagination. No, Jake and Elwood didn’t necessarily come from the future and cross dimensions, but they did do a heck of a lot more on their mission from God.

The produced movie’s plot follows Jake and Elwood as they gather together the members of their old band. Each encounter with the member serves as an opportunity for a musical number and/or a comedy set piece.

To recruit brass man Mr. Fabulous (Alan Rubin), the brothers wreak havoc in the upscale restaurant where he serves as maître d’, ordering too much food and harassing the clientele. When the Brothers drop by a soul food restaurant to grab Matt “Guitar” Murphy and saxophonist Blue Lou Marini, a squabble between the guitarist and his wife Aretha Franklin leads to a showstopping rendition of “Think,” powerful despite the Queen of Soul’s difficulty with ad-libbing her own vocals.

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According to Semlyen, Aykroyd had much bigger ambitions for his script. “He had two somewhat surprising touchstones in mind,” writes Semlyen. “Bernardo Bertolucci’s five-hour Italian political drama 1900 and Stanley Kubrick ‘s candlelit period piece Barry Lyndon .”

Somehow, those inspirations led Aykroyd to a rambling free-for-all of a story. According to a Vanity Fair article outlining the movie’s troubled production, Aykroyd wrote the script in “a kind of free-verse style,” even getting “meta, with separate story lines detailing the recruitment of all eight backup musicians.” Ever the spiritual seeker, Aykroyd included “explications of Catholicism [and] recidivism” in his script, going further than the imperious nun Sister Mary Stigmata (Katherine Freeman) or the levitating charismatic preacher Reverend Cleophus James (James Brown).

“The script is never-ending,” then-Universal Pictures president Ned Tanen thinks. “It doesn’t really work. It’s like a long treatment or something.”

Aykroyd indulged his other great passion too, cars and machinery. According to Vanity Fair, in The Return of the Blues Brothers , “Aykroyd wants a scene explaining why Elwood’s car, the Bluesmobile, has magical qualities.” Wild and Crazy Guys provides more detail, describing the Bluesmobile as specifically “a 1974 Dodge Monaco 440 ex-police cruiser … very deliberately a vehicle from before the dawn of unleaded gas.”

“Landis doesn’t but agrees to film it,” reported Vanity Fair, referring to director John Landis . “He knows he’ll just cut it later.” Indeed, after wrangling Belushi enough to make Animal House into a viable hit, Landis came aboard The Blues Brothers to give Aykroyd some direction. And he did so in exactly the manner suggested by that explanation: he cut and trimmed the script until it turned into something funny and moving.

“I wrote a heavy, urban experience,” Aykroyd later told Semlyen. “What [Landis] did was to put a little Disney flash into it, you know what I mean? And it worked really well.”

The Blues Brothers Hit Machine

It’s hard to call the finished Blues Brothers film “Disney flash.” It is a movie of excesses, with a bare bones narrative about Jake and Elwood getting their band back together to save an orphanage cluttered with ridiculous gags, jaw-dropping musical sequences, and so, so many car crashes.

Given the messy product that made it to theaters on June 20, 1980 and the bizarre script that Aykroyd wrote, it should come as no surprise that the filming process was equally chaotic. The budget grew as the production wrangled together cop cars, legendary musicians, and drugs to keep Belushi and company working.

According to Semlyen, by the time The Blues Brothers reached its release date, it had gained the nickname 1942 , an unfavorable reference to the Steven Spielberg debacle (also featuring Belushi and Landis) 1941 . “Lew [Wasserman, the old-school head of Universal ] would nail me every day,” Tanen told Vanity Fair . “I wasn’t getting phone calls. He would be in my office. He comes in and says, ‘ Goddammit. ‘” When certain scenes took too long to shoot, Tanen recalled Wasserman yelling, “‘God damn this thing—they’ve only got two and a half minutes to do it… God damn that director.'”

And yet, unlike 1941 , the final version of The Blues Brothers managed to not only win over critics but also turn a profit. From its then-mammoth $27.5 million budget, The Blues Brothers earned $115.2 million at the box office and became an undisputed classic, launching the (sometimes) profitable franchise of SNL movies.

Would Return of the Blues Brothers have done even better? Aykroyd’s passion projects Nothing But Trouble and Blues Brothers 2000 suggest “no,” but it’s clear that his enthusiasm and wild imagination has its value, provided someone can reign in the scripts he throws over producers fences.

Joe George

Joe George | @jageorgeii

Joe George’s writing has appeared at Slate, Polygon, Tor.com, and elsewhere!

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The drug-fueled life and times of John Belushi and ‘The Blues Brothers’

  • Oops! Something went wrong. Please try again later. More content below

While filming “The Blues Brothers” in 1979, John Belushi was partying so hard that he was often unable to function.

One night, after yet another Belushi delay, director John Landis knocked on the door of his trailer, fed up.

“Inside, John sat disheveled, eyes vacant. Atop a desk sat a mound of cocaine,” writes Daniel de Visé in his new book, “ The Blues Brothers: An Epic Friendship, the Rise of Improv, and the Making of an American Film Classic ,” (Atlantic Monthly Press, March 19).

“ ‘John, you’re killing yourself,’ Landis cried. ‘Do not do this to my movie. Don’t do this to me. Don’t do this to [Belushi’s wife] Judy. Don’t do it to yourself.’ ”

Landis then picked up “probably a hundred thousand dollars worth” of cocaine and flushed it down the toilet, leading Belushi to charge at him.

“They grappled like drunken wrestlers,” writes de Visé. “John burst into tears, and their grapple melted into an embrace. Landis burst into tears. ‘John, this is insane,’ he moaned.’ ”

Belushi, who shot to fame first on “Saturday Night Live” and then as the star of the hit 1978 film “Animal House,” both performed and lived like he had been shot out of a rocket.

By the show’s second season, Belushi was “binging day and night on cocaine.”

NBC executive Dick Ebersol briefly became Belushi’s minder, flying him to LA every week from Sunday through Wednesday to keep him out of trouble, and leaving messages with “Saturday Night Live” creator Lorne Michaels that said, “I have the Albanian. Everything is under control.”

But it wasn’t, as Belushi kept falling asleep with cigarettes in hand, setting furniture on fire.

While Belushi’s addictions grew, so did his success, and he and best friend/creative partner Dan Aykroyd put a musical dream they had into action.

The pair first discussed forming the Blues Brothers the night they met, in 1974.

The Blues Brothers performed on “SNL” during the show’s first season dressed as bees, recurring characters on the show that Belushi despised.

But otherwise, the performance was filled with what would become the Blues Brothers’ trademarks. Aykroyd played harmonica, and Belushi sang and did cartwheels. Both wore sunglasses. The crowd loved it.

Belushi began visiting New York clubs dressed as his Blues Brothers character, “Joliet” Jake Blues, “leveraging his celebrity to jump on stage with various bands.”

After Michaels witnessed one of these appearances, he suggested that the Blues Brothers start warming up the “Saturday Night Live” audience before the weekly show.

Fueled by their comedy stardom, the Blues Brothers secured a deal with Atlantic Records and a booking to open for Steve Martin, then the country’s most popular comedian, for nine nights in LA.

Between their own star power and the quality of their band, which consisted of R&B heavyweights, the shows attracted A-list stars from Jack Nicholson to Mick Jagger, and sent Belushi and Aykroyd’s own stardom into the stratosphere.

The pair soon had a #1 album and a hit movie on top of their “Saturday Night Live” success.

After filming the comedy “Neighbors” in 1981, Belushi and Aykroyd spent the summer on Martha’s Vineyard. Driving around one day, Aykroyd played a raucous surf instrumental that Belushi fell in love with.

“Wow!” John cried. “What is that?”

Belushi laughed when Aykroyd told him that the song’s title was “The 2,000 Pound Bee.”

Aykroyd made Belushi promise that if Aykroyd died first, Belushi would play the song at his funeral. Belushi then asked Aykroyd to promise the same for him.

But while the duo enjoyed tremendous success, Belushi’s addictive drive was no match for the pressure it brought.

By March 1982, he was ingesting so many drugs that both an ex-Secret Service agent and a karate champion were hired at various times to keep a 24-hour watch on him.

But a 24-hour watch is a tall order, and hired hands still have lives.

On a day when Belushi was in LA, his minder was across the country signing divorce papers and Aykroyd and Judy were in New York, Aykroyd, who was working on a new screenplay, received a slurred phone message from Belushi.

“He was f–ked up, and he was hurting. I’d never heard him that bad before,” said Aykroyd.

He then spoke to Belushi on the phone.

“John, c’mon man, you gotta come home,” Aykroyd pleaded. “I’m writing something great for us here that’s gonna solve everything. But you’ve gotta come back.”

The project he was alluding to was “Ghostbusters.” Aykroyd wrote the part of Peter Venkman, later made legend by Bill Murray, for Belushi.

But it was not to be. Later that night, Belushi, after being injected with a heroin/cocaine combination called a speedball, passed away. He was 33.

At Belushi’s open-casket funeral, Aykroyd told the story of “The 2,000 Pound Bee” and, as promised, produced a small cassette recorder and played the song for the mourners.

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Dan Aykroyd, Jim Belushi Returning To Old Joliet Prison

J OLIET, IL — On Friday, the Joliet Area Historical Museum announced it will host its second annual Blues Brothers Con featuring actors Dan Aykroyd and Jim Belushi, reprising their roles as “The Blues Brothers” at Old Joliet Prison on Saturday, August 17.

According to the museum, the festival aims to transform the 16-acre historic prison site into a tapestry of sights and sounds to honor the iconic “Blues Brothers” film — that was filmed on its grounds — as well as celebrate blues music’s influence on the prison throughout its history.

“The ‘Blues Brothers’ film is about passing on the love of Blues music to a new generation,” said Greg Peerbolte, chief executive officer of the Joliet Area Historical Museum. “The Prison’s connection to the Blues dates back to the 1932 recording of Memphis Minnie’s ‘Joliet Bound.’ Blues music helps us to confront — and heal — the Prison’s often difficult historic legacy. Following the incredible fan response to the (2022) event, we are extremely grateful to Dan Aykroyd and Judy Belushi Pisano and the Belushi family to pass on the film itself – and the music it cherishes – to new generations.”

Aykroyd and Belushi will emcee a stacked lineup of iconic and diverse Chicago Blues performers featuring, Curtis Salgado, Ronnie Baker Brooks, Lil' Ed & The Blues Imperials, and Al Spears & The Hurricane Project.

The evening will be appropriately capped off by a Maxwell Street-style Blues jam session where Dan, Jim and other “Blues Brothers” alumni will take part in a special encore performance featuring hits from the film. “Blues Brothers” fans can also expect a variety of experiences, appearances and one-of-a-kind photo ops throughout the day.

Proceeds from the event support the operations of the Joliet Area Historical Museum, a 501(c)3 not-for-profit that has operated educational tours and community programs at the Old Joliet Prison Historic Site since 2018. The Old Joliet Prison is currently undergoing restorations, but is still open to visitors daily for self-guided tours.

Event Location: Inside the walls of Old Joliet Prison, 1125 N. Collins St., Joliet, Ill.

Date : Saturday, August 17th – Gates open at 11:00 am

Ticket Prices: General Admission: Adult $55

General Admission : Child $25 (18 and under)

Front Section Standing Room Only : $75

Front Section table for 4 guests: $500

Parking: Remote Lots: Free

The article Dan Aykroyd, Jim Belushi Returning To Old Joliet Prison appeared first on Joliet Patch .

John Belushi and Dan Aykroyd on set near the Old Joliet Prison. A scene in which the Brothers entered a “house of ill repute” was filmed near the prison, but ultimately not used in the film.

Spoilers! How that 'Frozen Empire' ending, post-credits scene tease 'Ghostbusters' future

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Spoiler alert: We're discussing important plot points and the ending of “Ghostbusters: Frozen Empire” (in theaters now), so beware if you haven’t seen it yet.

A new evil force brought the fight to the Ghostbusters ’ own home in the latest franchise installment “Frozen Empire,” though a team-up of young and old faces was enough to win the day. Still, enough mayhem occurred to force consequences to face in future movies.

“Frozen Empire” returned the paranormal adventure to New York City – the setting of Ivan Reitman’s original 1984 “Ghostbusters” – and unleashed the villainous Garraka, an ancient spirit who wants to raise an undead army to take on humanity. Luckily, teenage Phoebe Spengler (Mckenna Grace) and her family of new Ghostbusters have help courtesy of OG heroes Peter Venkman (Bill Murray), Ray Stantz (Dan Aykroyd) and Winston Zeddemore (Ernie Hudson).

Director Gil Kenan and his cast dig into what the “Frozen Empire” finale and an end-credits scene foretell of “Ghostbusters” future:

What happens in the ending of ‘Ghostbusters: Frozen Empire’?

When Garraka is freed from the brass orb housing him, the baddie ices over Manhattan and makes a beeline for the Ghostbusters’ firehouse headquarters. With the assistance of Nadeem (Kumail Nanjiani), whose grandmother had been in charge of the orb (and keeping Garraka imprisoned), the combined Ghostbusters defeat the demonic horned villain, though the ghost containment unit is destroyed and frees every spook and specter Venkman and Co. busted back in the day.

While not great for New York City, it does set a course for future franchise outings. “Look, when you've got a city full of ghosts, there's only one number you can call,” Kenan teases.

'Ghostbusters' review: 'Frozen Empire' doubles down on heroes and horror, but lacks magic

Do any of the original 'Ghostbusters' cast die in ‘Frozen Empire’?

While franchise sequels do have a tendency to kill off key characters (see: “Star Wars”), no old favorites perish here – though you do worry about Ray for a bit. In one “Frozen Empire” scene, he wonders aloud to Phoebe what it would be like to be a ghost, and in the past, Aykroyd has mentioned dying in a sequel.

Kenan reports there was no alternate ending where Ray shuffles off this mortal coil. Instead, his musings are “thematically important” because of Phoebe's arc concerning her new phantom friend Melody (Emily Alyn Lind), the director says. “She has a particular curiosity to what it's like to be on the other side. That sensitivity is the thing being mined in the conversation with Ray.

“But if it creates a little bit of extra-dramatic stakes and heightened anxiety on the part of the audience, we'll take it.”

'The spirits are still there': Old 'Ghostbusters' gang is back together in 'Frozen Empire'

Is there an end-credits scene in ‘Ghostbusters: Frozen Empire’?

Indeed, there is! As the credits roll alongside the familiar refrains of Ray Parker Jr.’s vintage “Ghostbusters” theme song , the screen cuts to a remote truck stop. A driver of a Stay Puft Marshmallow truck steps out of his semi to get gas and snacks but it starts rolling away, with the cute and chaotic Mini-Pufts (who first appeared in “Ghostbusters: Afterlife” and return in the new movie) hijacking the vehicle.

“We’ve got a feeling there are very specific stories in the future for those little bandits,” says Kenan, who wanted to nod to a bevy of potential supernatural threats. “Even though we've seen it beginning to spill out into the city again, it was important to tee up the fact that there are threads that run like ribbons in every direction out from this story.”

So, what should we expect in future ‘Ghostbusters’ movies?

Nothing’s set in stone yet, but the original stars have ideas for where to take the series. Aykroyd, who co-wrote the first two “Ghostbusters” movies with Harold Ramis, says he’s penned a “neat story” featuring Phoebe where the old guys have “stepped back a little” and “the kids have to handle things on their own. Hopefully we might make that in the next couple of years.”

And now that Hudson’s Winston is the wealthy head of the Ghostbusters franchise, the actor says he’d like to be a Nick Fury-type character in future movies, sending folks on missions around the world. “Every culture has its ghost stories. There are other places that have some unusual things going on.” A few possible spots: Africa or the Deep South, though Hudson personally would like to visit “some of those old castles in Europe,” he says. “I’d love to even see me, Bill and Danny actually get a chance to chase down some ghosts (again). We're still viable and still available.”

IMAGES

  1. Jim Belushi & Dan Aykroyd

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  2. Jim Belushi & Dan Aykroyd

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  3. Have Love Will Travel CD by Jim Belushi & Dan Aykroyd Signed

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  4. Dan Aykroyd & Jim Belushi

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  5. Jim Belushi & Dan Aykroyd Live In Toronto 2003 (Have Love Will Travel

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  6. Jim Belushi & Dan Aykroyd

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VIDEO

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  2. Kissing Dan Aykroyd #shorts

  3. Jim Belushi & Dan Aykroyd Live In Toronto 2003 (Have Love Will Travel Revue)

  4. When Jim Belushi Found His Brother (GROWING BELUSHI)

  5. Blues Brothers Return to Joliet

  6. FanBase Recap Teaser_The Blues Brothers (1981)

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