Clint Orr is completely ordinary. It’s his dream that isn’t.

“Over the years, it’s kind of turned into an obsession,” said Orr, a University alumnus who graduated in December.

The famous “Ghostbusters Mobile,” which is known for its random appearances around town, will be making its own silver screen debut.

The obsession would be with “Ghostbusters” — both the live-action and animated franchises — and the “it” would be his proposed fan film based on that work, “The Real Ghostbusters,” now 10 years and nearly $20,000 in the making.

“I love playing with toys and I love wearing costumes to the point that I feel like a loser so I have to reinforce it with a camera,” he said. “[I’ve] really just been playing ‘Ghostbusters.’”

But Orr isn’t alone, either in his love of the 1984 comedy or his dedication towards producing a legitimate work of derivation.

His film has involved months of effort, both on his part and on the part of other University students.

A film studies major while in school, he was surrounded by people with similar interests; and, along with the help of his friends, Orr made several student films during his time in the program.

He never got around to his true passion, though it always remained on his mind.

The seed was planted years ago, after Orr became familiar with the conventions of reinterpreting beloved works, having already paid homage to both “Star Wars” and “Scream” by the seventh grade.

The following years, however, only saw him collecting numerous collectibles — such as the replica Ghostbusters Mobile that’s made him a cult figure downtown.

Then, a crystallizing moment came after seeing a particularly bad, fan-made “Ghostbusters”-inspired film and the realization that, maybe, he could do one better.

“I was like, ‘OK, it’s time,’” he said.

Another decisive, though not equal, factor was the chance to make something that showcased extensive filmmaking prowess.

Unfortunately Orr’s creative process wasn’t nearly as obliging — until he found himself briefly bedridden.

“I wrote [the script,] threw it away; wrote another one, revised it, threw it away,” he said. “Then I had my tonsils out and kind of just wrote it in bed.”

From there, things started falling into place.

Last March, the cast for his vision began knitting together, drawn from a range of fellow students, including longtime friends like TJ Rawls, and newer ones such as Bill Wilder, a producer and sound technician on the project.

“We found friends of ours who didn’t mind wearing 30 pound backpacks,” Orr said. “We picked people, I think, who love ‘Ghostbusters.’”

Wilder in particular was drawn to them almost entirely on the allure of the Mobile.

“I saw the car downtown and I was like, ‘For real?’” he said. “I flipped out.”

The breadth of Orr’s personal relationships with the cast was mirrored in the depth of their talents, many of whom were theatre majors and experienced with on-the-spot flexibility — something that proved essential.

“They’re really into improv and trying whatever we can [on-screen,]” said Katie Causey, who plays a character based on Sigourney Weaver’s Dana. “But we have bits of our personality in the film … So it’s a nice mesh of the original film and our personalities.”

Before the ball could really start rolling, Orr need equipment.

Luckily, many of those involved were students in the film and theatre programs, allowing them free use of University gear such as boom microphones.

Next, they needed everything that goes before a movie camera.

And although the running-time for the film is estimated at only 45 minutes, its production has been elaborate, involving two separate sets for interiors in Winder and numerous exterior locales.

One crew member even happened to be house-sitting for film studies professor Antje Ascheid during the summer, allowing the cast to shoot at her home without permission.

The sets are no simple reproductions, however. They’re duplicates where even the filing cabinets have been matched precisely.

The props used, many of which Orr had accrued over the years, were also chosen specifically for their fidelity to the original film.

Being faithful wasn’t all that cheap though, and Orr estimates he’s spent between $10,000-$15,000 on the making-of.

The bulk of filming was done in spring, and was the most grueling for them, with more than one night requiring cast and crew to make late-night drives to The Rug Mill in Winder — which doubled as the Boogeyman’s lair — for seven-hour shoots.

Rawls said Orr’s passion kept the crew invigorated, however, as did the simple opportunity to pretend.

“It’s always exhausting and it’s always a pain until you do it,” Rawls said. “Then it’s fun.”

Coupled with the actor’s honorific performances, which involved even hair-styling similar to that of their ‘80s counterparts, the aesthetic of “The Real Ghostbusters” is tribute and not reinvention.

“That’s what we have over everyone else’s films: heart,” Wilder said.

But when it came to moment-by-moment decisions, the overriding principle went a step beyond affection, coming closer to reverence.

“The big director is the movie, because a lot of times we’d have a funny idea and were like, ‘What would Bill Murray do?’” Orr said. “It’s like we’re in someone else’s pants. They aren’t our pants — we’re just trying to make them fit.”

Now in its final stages of filming, the movie will soon enter post-production in preparation for an October release.

Almost everyone involved has graduated, and coordinating the remaining shoots has proved more difficult because of this.

Soon, even Orr is headed off to L.A. to pursue a career.

After years of possibility and seven months of production, things are wrapping up.

“It’s been a long, long time coming,” Rawls said.

In terms of teasing the film to the interested masses, the cast have a hundred variations on the same sentiment.

“I think when it comes together it’ll be great,” said Brandon Shorter, who plays a character modeled on Ernie Hudson’s Winston.

As for Orr — with whom the project first began and with whom it has spent the most time, in the editing room, behind a camera lens and in his head — how does he feel about the prospects for the film?

For him, in the end, the end isn’t all that important.

“If this movie crashes and burns,” he said, “we still got to be Ghostbusters.”