Ghostbusters

**Ghostbusters** (also known as "**Ghost Busters**", the original title) was a 1984 sci-fi/comedy film. The film was released in the United States on June 8, 1984. It was produced and directed by Ivan Reitman and stars Bill Murray, Dan Aykroyd, Harold Ramis, Rick Moranis, Sigourney Weaver, Annie Potts, and Ernie Hudson. It is the start of the Ghostbusters Franchise related media and fits into the Movie and Animated continuities.

The movie is most known for its No-Ghost Sign, the line "Who ya gonna Call?", the Ghostbusters (theme song), and the Ecto-1 vehicle.

## Characters

*All Characters are listed as they first appear in the film*

### Main Characters

* Dr. Peter Venkman (portrayed by Bill Murray)
* Dr. Raymond Stantz (portrayed by Dan Aykroyd)
* Dr. Egon Spengler (portrayed by Harold Ramis)
* Winston Zeddemore (portrayed by Ernie Hudson)
* Janine Melnitz (portrayed by Annie Potts)
* Dana Barrett (portrayed by Sigourney Weaver)
* Louis Tully (portrayed by Rick Moranis)

### Minor Characters

* Alice (portrayed by Alice Drummond)
* Jennifer (portrayed by Jennifer Runyon)
* Male Student (portrayed by Steven Tash)
* (Library Administrator) Roger Delacorte (portrayed by John Rothman)
* Dean Yeager (portrayed by Jordan Charney)
* Removal Men
* Real Estate Woman (portrayed by Rhoda Gemignani)
* Marty
* Hotel manager (portrayed by Michael Ensign)
* Man at Elevator (portrayed by Murray Rubin)
* Chambermaid (portrayed by Frances E. Nealy)
* Hallway Bystander
* Mrs. Van Hoffman (portrayed by Kathryn Janssen)
* Mr. Smith
* Donald
* Roger Grimsby
* TV Reporter during montage (portrayed by Christopher Wynkoop)
* Chinatown Client
* Larry King
* Reporters (portrayed by Stanley Grover, Carol Ann Henry, James Hardy, Frances Turner, and Nancy Kelly)
* Casey Kasem
* Joe Franklin
* Violinist (portrayed by Timothy Carhart)
* Walter Peck (portrayed by William Atherton)
* Woman at Party (portrayed by Patty Dworkin)
* Tall Woman at Party (portrayed by Jean Kasem)
* Marv at Party
* Ted and Annette Fleming (portrayed by Paul Trafas and Cheryl Birchenfield)
* Louis's Neighbor (portrayed by Eda Reis Merin)
* Doorman (portrayed by Lenny Del Genio)
* Policeman at Apartment (portrayed by Ric Mancini)
* Coachman (portrayed by Danny Stone)
* Police Sergeant (portrayed by Joe Schmieg)
* Police Captain (portrayed by Joe Cirillo)
* Con Edison Man (portrayed by Larry Dilg)
* Ron Jeremy (a crowd extra)
* Businessman in Cab (portrayed by Winston May)
* Hot Dog Vendor (portrayed by Sam Moses)
* Jail Guard (portrayed by Reginald VelJohnson)
* City Hall Police
* Mayor Lenny (portrayed by David Margulies)
* Fire Commissioner (portrayed by John Ring)
* Police Commissioner (portrayed by Norman Matlock)
* Mayor's Aide (portrayed by Tommy Hollis)
* Archbishop (portrayed by Tom McDermott)
* Bill Walton (a crowd extra)

### Entities

* Library ghost (known in The Video Game as Eleanor Twitty and portrayed by Ruth Oliver)
* Terror dogs
	+ Zuul (voiced by Ivan Reitman)
	+ Vinz Clortho

* Slimer (portrayed by Mark Bryan Wilson and voiced by Ivan Reitman)
* Dream Ghost (Ghost appearing in Ray's dream and portrayed by Kym Herrin)
* Slimers (mentioned)
* Sloars (mentioned)
* Torb (mentioned)
* Subway Ghost
* Zombie Taxi Driver
* Gozer (portrayed by Slavitza Jovan and voiced by Paddi Edwards)
* Stay Puft Marshmallow Man (Gozer's Destructor Form)

### Deleted Scenes Characters

* Leslie
* John the Workman
* Groom (portrayed by Charles Levin)
* Bride (portrayed by Wendy Goldman)
* Policeman (13027) (portrayed by William Kennedy)
* Harlan Bojay (portrayed by Bill Murray)
* Robert Learned Coombs (portrayed by Dan Aykroyd)
* Jino and Co.

## Equipment/Vehicle

* Electro-Shock Generator
* Camcorder
	+ Recording Module
	+ External Camera light

* Stethoscope
* P.K.E. Meter
* Nikon SLR FE2 Camera
	+ Leather Case

* Plastic Petri Dish
* PC-4 Calculator
* Casio Micro-Mini Calculator
* Ghost Sniffer
* Ecto-1
* Aura Video-Analyzer
* Particle Thrower
* Tobin's Spirit Guide (mentioned)
* Spates Catalog (mentioned)
* CWU-27p Flight Suit (Uniform)
* Pistol Belt
* Electrical Gloves
* Key Fob
* Leg Hose
* Proton Pack
* Trap
* Ecto Goggles
* Motorola MT500 Radio
* Belt Gizmo
* Gamma Rate Meter
* Containment Unit
* The Roylance Guide to Secret Societies and Sects (mentioned)

## Items

* Stay Puft Marshmallows
* The Atlantic Monthly
* Omni
* Wise Foods Products
* The Twinkie

## Environmental

* Symmetrical Stacking
* Ectoplasm
* Psychokinetic Atmospheric Influence

## Events

* Mass Sponge Migration (mentioned)
* Philadelphia Mass Turbulence of 1947 (mentioned)
* Tunguska Blast of 1909 (mentioned)

## Places/Locations

* New York City
* New York City Public Library
* Columbia University
	+ Weaver Hall
* Manhattan City Bank
* Firehouse
* Central Park
* 550 Central Park West
	+ Dana's apartment
	+ Louis' Apartment
* Temple of Gozer
* Sedgewick Hotel
* Saks Fifth Avenue
* Rockefeller Plaza
	+ Sabrett Hot Dog Cart in front of McGraw-Hill Building
* Chinatown
	+ Tai Hong Lau Restaurant
* Fort Detmerring (dream)
* Lincoln Center
* Tavern on the Green
* Times Square
* Columbus Circle
* Empire State Building
* NYPD Lock-Up
* New York City Hall
* Camp Waconda (mentioned)

## Plot Synopsis

Three misfit parapsychology research professors that specialize in ghosts, Dr. Egon Spengler (Harold Ramis), Dr. Raymond Stantz (Dan Aykroyd), and Dr. Peter Venkman (Bill Murray), find themselves looking for work after Columbia University terminates their grant.

Before they are kicked out of Columbia, they investigate a haunting at the New York City Public Library and after seeing some symmetrical book stacking they encounter a ghost librarian (the Gray Lady) that runs them out of the Library.

Without a way to share their findings, Venkman, Stantz, and Spengler take matters into their own hands. They start a business named "Ghostbusters", a "professional paranormal investigation and elimination service", out of an old firehouse, using a 1959 Cadillac Miller-Meteor Ambulance dubbed "Ecto-1" to get about the city and hiring Janine Melnitz (Annie Potts) to handle the phones and clerical work. Dana Barrett (Sigourney Weaver) of 550 Central Park West, comes to the Ghostbusters and asks for their help after she experiences some horror in the kitchen of her own home. The Ghostbusters do a few tests to determine that she isn't crazy as she recounts a paranormal experience in her kitchen centering around the name "Zuul". Peter seizes the opportunity to get romantically closer to Dana and goes with her to the apartment. Using the Ghost Sniffer he checks out the place, finds nothing in the main room, and bedroom. Dana then directs him toward the kitchen where he finds eggs that cooked themselves on the counter but gets no readings on the Ghost Sniffer despite using it correctly.

Meanwhile, their funds are nearly dried up eating a Chinese food dinner, which they ate slowly. Janine gets a call with a serious client, and she rings the alarm bell. The Ghostbusters run and get dressed, then leave in the Ecto-1. They show up at the Sedgewick Hotel and the Hotel manager tells them that they are having problems with a resident ghost. Following a successful test of the equipment, they split up to search the hotel for the ghost. Peter finds the ghost which then slimes him. Egon calls Ray to tell him that the ghost is now in a ballroom. They enter the ballroom and as they attempt to capture it, they destroy the room and make a lot of noise. They ultimately manage to capture the ghost, and they find themselves an overnight success across both New York City and the nation. As the amount of calls grows, the team is required to hire a fourth member, Winston Zeddemore (Ernie Hudson). An unwanted side effect of their newfound popularity produces Walter Peck (William Atherton) from the Environmental Protection Agency. He comes to the firehouse trying to inspect the Storage facility which Peter refuses to let him do.

One night, Dana enters her apartment and is talking on the phone to her mother. After she hangs up, she gets grabbed by claws that burst out of her chair. She is taken into the kitchen where she becomes possessed by Zuul. Meanwhile, Louis Tully (Rick Moranis), another resident of the apartments, is hosting a party for the fourth anniversary of him becoming an accountant when a dog (also described as a bear and a cougar - but really a Terror Dog) attacks, and chases him out of the building and to a restaurant where it possesses him.

Peter makes a visit to Dana's apartment. He quickly realizes that she has been possessed by Zuul, the Gatekeeper of Gozer. Changed radically by her possession, Dana aggressively tries to seduce him but ends up growling fiercely and levitating above her bed in frustration after he repeatedly rejects her advances.

Louis, similarly possessed by Vinz Clortho, Gozer's Keymaster, stumbles around Central Park. He harasses locals until finding a carriage horse and confusing it with the Gatekeeper. When the coachman questions him, Louis responds by angrily flaring his eyes red and growling at the man. Later, the cops bring Louis to the Firehouse and ask Egon if he'd take him, as he is exhibiting strange behavior. Egon recognizes that Louis is possessed. Peter later calls Egon to tell him about Dana being possessed by Zuul, aka the "Gatekeeper".

The next day, Walter Peck accompanied by an officer and laborer, obtains a court order to shut the containment grid down, and unable to stop him, the team flees the firehouse as the grid collapses and hundreds of freed ghosts flood the city. The explosion of supernatural energy causes Zuul to awake in her bed and allows Vinz Clortho to escape and make his way back to 550 Central Park West where they unite inside Dana's apartment with a passionate kiss. Peck orders the Ghostbusters arrested while the ghosts create panic across the city. While waiting in jail, the team recognizes that Dana's apartment building was a huge super-conductive antenna, designed and built expressly for the purpose of pulling in and concentrating spiritual turbulence. The mayor (David Margulies) orders the release of the Ghostbusters from jail. He has a conversation with the Ghostbusters about the events while Peck tries to counter-attack their story. In the end of the discussion, Peter wins over the mayor's judgment allowing them to get to work to prevent the potential catastrophe overriding Peck's demands.

Assisted by the police and Army, the Ghostbusters make their way to the top of 550 Central Park West. They are too late to prevent the possessed Dana and Louis from completing the ritual for the coming of Gozer. When the Ghostbusters reach the hidden part of the building, the possessed Dana and Louis open a dimensional gate at the top of the building and are transformed into the Terror Dog forms of their possessors. They then take their positions beside Gozer's Temple as the Ghostbusters stare in shock. When Gozer (Slavitza Jovan) emerges in a female humanoid form, the team tries to shoot her with their packs, but fails to harm her. Gozer disappears and tells them to select the next form it will take, and though the team tries to empty their minds, Ray is unable to. Ray thinks about the most innocent thing he could imagine: the Stay Puft Marshmallow Man. The team finds that a giant version of the marshmallow mascot has begun to lay waste to the city as it makes its way to the apartments and starts climbing the building. Egon realizes that the only way to end the destruction is to reverse the particle flow through the gate by crossing the streams, resulting in "total protonic reversal" which would destroy Gozer and the interdimensional gate. The plan is risky at best, but there is definitely a very slim chance of their survival. As the giant creature reaches the top of the building, the team executes Egon's plan, causing the gate to seal itself, creating an explosion and burning the Stay Puft Marshmallow Man away into large amounts of liquid marshmallow fluff. The Ghostbusters find that they have all survived and that Dana and Louis have returned to their normal, unpossessed, human forms. The team is cheered on by the vast population of New York City as they leave the building and drive away.

## Development

### Ghost Smashers

The concept was inspired by Aykroyd's own fascination with the paranormal, and it was conceived by Aykroyd as a vehicle for himself and for his friend and fellow Saturday Night Live alumnus John Belushi. The original story as written by Aykroyd "Ghost Smashers" was very different than what would be eventually filmed. In that version, a group of Ghostbusters would travel through time, space and other dimensions taking on huge ghosts.

In late 1981, Dan Aykroyd began writing his first draft.  Work on the script was slow and steady over the next few years due to other projects Aykroyd worked on. On March 5, 1982, while he was writing one of Venkman's lines, Aykroyd heard Belushi had passed away.  Aykroyd sent a half-completed script to Bill Murray and spoke to him about picking up the mantle left by Belushi. Murray responded favorably to the script's concept so Aykroyd took it to Ivan Reitman.   Reitman looked through the script, which only had 40-50 pages done at that point, and had no idea how he could make it into a movie- alternate dimensions, very little character work, an all black somewhat sentient car that could dematerialize and a special effects budget he estimated to cost in the hundreds of millions of dollars. Still, Reitman did like the comic attitude contrasted with a serious script. He set it aside.     Undaunted, Aykroyd kept working on the script and finished it months later on January 20, 1983. The finished script was around 180 pages. He submitted the final script to Reitman in April along with concept drawings by artist friend John Daveikis and a videotape of himself wearing a jumpsuit based uniform and makeshift nutrona wands and a Proton Pack fashioned from styrofoam and old radio parts. At the time, several of Reitman's projects were stalled in various stages of development. Eager to get something into production, Reitman took another look.

* "Ghost Smashers"- *more information on Dan Aykroyd's script first script*

### The Meeting

Reitman honed in on the idea of a group of men operating from a firehouse and responding to emergency calls like firefighters would. Reitman got a laugh out of the concept, equipment, car and logo but had reservations about the fantasy elements. He had a lunch meeting with Aykroyd at Art's Delicatessen in May 1983.  Reitman made some suggestions to which Aykroyd immediately took to such as setting the movie in a modern American city, doing an origin story, and bringing in Harold Ramis.   After their meeting, Reitman and Aykroyd went to The Burbank Studios and talked to Harold Ramis. At the time, Reitman and Ramis had offices there. Ramis happened to be reading one of Aykroyd's other scripts, one about the Canadian Mounted Police. Aykroyd told him to put it aside and take a look at his Ghostbusters script. After about 20 minutes, Ramis was in.  Later in the afternoon, Reitman called his agent Mike Ovitz, who also represented Aykroyd, Ramis and Murray, and asked him to set up a meeting with Columbia Pictures chairman Frank Price.  Reitman did a 5 minute pitch to Price about the Ghostbusters concept. Price liked it and asked about the budget. Without a final script and knowledge of such a movie, Reitman pulled a number out of thin air since his last movie was $10 million. Price advised him to keep the budget in the mid-$20 million range and gave Reitman 13 months to make a summer tentpole movie for 1984.   With no script, two writers, two associate producers, most of the main cast, and no special effects house, Ghostbusters was greenlit.

* Scripts- *for more information on scripts for Ghostbusters*

* Casting History- *for more information on casting history for Ghostbusters*

### First Aykroyd-Ramis Draft

The first collaborative script between Aykroyd and Ramis was completed on June 6, 1983. The main thrust of the draft was to come up with a new story that made sense to Aykroyd, Ramis and Reitman.  Ramis came up with setting up the main characters as parapsychologists working at a university.  More were slowly added to the crew - John DeCuir, cinematographer Laszlo Kovacs, costume designer Theoni V. Aldredge, and editor Sheldon Kahn. With input from Edlund and DeCuir, the budget was adjusted from $25 million to $30 million.   A rough story outline was achieved in the first draft. They settled on how the main characters would start out and where they would end up but the fine details still needed to be worked out. In terms of pacing, the movie didn't take off until the hotel around page 40.  The Ghostbusters were fired from a small college in New England and went to New York. They investigated a converted farmhouse where a family was being bothered with incessant knocking.   Aykroyd and Ramis added in a love interest named Zuul, an alien fugitive from another dimension. After watching a diet cola commercial, the alien and her compatriot transforms into a beautiful female human and a heavy set male human.   The romance proved too comedic. Peter and Zuul go to a restaurant. Zuul sees woman taking their wraps off and attempts to take her blouse off. After leaving a restaurant, Zuul takes pity on a carriage horse and kisses it with genuine emotion, leaving the driver concerned. Peter takes Zuul to the Times Square Motor Hotel. The next morning, he wakes up to find Zuul has taken on a warthog form.    Some effects were still rather elaborate. When the Containment Unit releases the ghosts, they descend upon a subway station and hover over the tracks then hitch a ride on the express train to uptown.  Like the beginning, the end wasn't solely set in New York. Egon concluded a small community in northern New Jersey was the likely epicenter of major psychic activity. The reason was its proximity to three nuclear power plants and chemical waste storage areas.  The Ghostbusters would ultimately regroup in New Jersey and battle Gozer, who took on the form of a swirling psychic maelstrom topped by a disembodied aphid's head of monstrous proportions

### Second Aykroyd-Ramis Draft

Aykroyd, Ramis, and Reitman relocated to Martha's Vineyard for two and a half weeks around the July 4th weekend to work on the second draft. Aykroyd was living there at the time and work took place in his basement with an old Royal electric typewriter.   New things were added and characters evolved. Egon demonstrated his prototype equipment but after it was plugged into an AC outlet, the Firehouse and Manhattan suffers a black out.  The 'foul-smelling amorphous vapor' from Aykroyd's first script became a green, potato-shaped ghost that haunted the hotel.  Louis Tully was a visiting conventioneer.  The Stay Puft Marshmallow Man became the Ghostbusters' final encounter.  Aykroyd, Reitman, and Ramis concluded they needed a fourth Ghostbuster to explain certain things in a more down to earth sort of way. Reitman also felt the movie could use another good guy coming in and joining the Ghostbusters.   Initially, Winston came to the firehouse for the job as security guard before Dana went to the Ghostbusters for help.  The ending was grander and wrapped up everything. Ghostbusters became a highly successful multinational corporation named Ghostbusters International. Peter and Dana moved in together. Egon and Janine got married. Ray returned to Fort Detmerring for another visit from its resident female ghost.  The July rewrite was completed on July 6. The July rewrite was constantly rewritten, re-edited and re-commented on. Aykroyd, Ramis, and Reitman left on July 10 with a strong script. As rewrites continued, Reitman started auditions.

### Preproduction Ramps Up

As preproduction went along, Reitman's team hired many freelance artists to draw out ideas for the ghosts and entities that would be in the movie. The artists were supervised by Michael Gross. Hundreds of concepts were conceived. Reitman did a simple mix-and-match to come up with the best assortment of designs.     Gross was also doing preliminary research into who would work on special effects.  The only major special effects houses at the time was Industrial Light & Magic (ILM) and Apogee. ILM was too busy with its current slate of projects, which included Star Wars: Return of the Jedi, Indiana Jones, and Star Trek III. Apogee was busy with Dune. Michael Gross and Don Shay grew up in the same town and have been close friends since high school. Gross called Shay in for consultation on visual effects. Shay heard Richard Edlund was leaving ILM to set up his own effects studio. He set up a meeting with Ivan Reitman, Michael Gross, and Richard Edlund. During back surgery, Edlund received a phone call from Reitman to work on Ghostbusters.  Edlund's Boss Films (later Entertainment Effects Group) was hired to work on the movie.   Columbia fronted $5 million to Richard Edlund to start his own effects house. It exclusively worked on Ghostbusters.  They had 10+ months to get their studio up and running, make up new techniques and styles, and design and construct everything.  It was discovered Filmation produced a children's live action comedy series called "The Ghost Busters" for the 1975-76 television season. Columbia entered negotiations with Filmation to secure the rights. Talks bogged down and uncertainty developed about the name of the movie.

### Third Aykroyd-Ramis Draft

The next rewrite was fine tuned even more. Some scenes were still elaborate from an effects standpoint. The scene where Dana's eggs start cooking was accompanied by a loaf of bread splitting up into pieces of toast and every metal appliance and utensil flew across the room and stuck to the refrigerator door.   Characters were brought back from the original script. Shandor was now a human with a morbid past. He was reimagined as a deranged surgeon and architect who worshiped Gozer who met his end when a failed abduction led police to his penthouse apartment, which was furnished with human bones. He was executed at Sing Sing by the electric chair.  Other characters were fleshed out better and were close to being finalized. Slimer's design and part was basically locked in. Peter and Ray discovered Slimer in the hotel.  Louis Tully, still scripted for John Candy, had rather earthier interests and hosted a party.  The sequence of Louis being chased by a Terror Dog was present. Louis attempts to hail a taxi but the Terror Dog jumps on the hood. Honing in on the New York attitude, the taxi driver isn't scared but really ticked off at the Terror Dog. Eventually, it falls off the cab and resumes his chase. The chase then shifts to Central Park.  The third rewrite was finished on August 6.

### Final Shooting Script and Principal Photography

The final shooting script was completed on October 7. In total, the new script took about three months.  Around the time of shooting, it became apparent John Candy was going to pass on the role of Louis Tully. On the same day, Reitman called up Rick Moranis. Moranis was available and was sent the script. Two hours after receiving it, Moranis called back the same day and accepted the role. Moranis helped mold Louis into the accountant character seen in the final version.   Bill Murray was due to return to the States a week or two before shooting began in October. Murray did some costume fittings then went back to Paris for a few more days of last minute photography for his movie "Razor's Edge."  Ivan Reitman and Harold Ramis drove to La Guardia International Airport and pick up Murray. Murray's private plane landed an hour later than scheduled. Murray then came through the terminal with a stadium horn programmed with 80 different fight songs. Reitman and Ramis 'dragged' Murray to a restaurant in Queens.  With about a week before principal photography, some camera and wardrobe tests were being conducted. Reitman decided to shoot a montage piece of the three Ghostbusters in uniform running down a street. Murray started filming on October 27, 1983 after taking a Concorde to New York and driving to 62nd Street and Madison for an 11 am start. Aykroyd, Murray, and Ramis suited up and Reitman filmed the montage piece on Madison Avenue around 61st Avenue.  In late October, a week of preliminary second unit work and three-and-a-half weeks of principal photography began in New York.   Most of the Tavern on the Green scenes were filmed the week before principal photography.   The scene with the Subway Ghost was also shot before principal photography.  New dialogue continued to be discovered, suggested and inserted during rehearsal and shooting. Scenes were rearranged, such as when Zuul and Vinz reunite. Some scenes and lines were ultimately cut. Some were improvised and looped later.       On the first day of principal photography, shooting took place at the Avenue of the Americas at the New York Public Library and Irving Trust Bank.    The scene with the Zombie Taxi Driver was also done on Madison Avenue during the first week of shooting.  The scene where possessed Louis walks and just before Slimer appears in the hot dog stand was shot in Broadway. It was also one of the very first things shot.

The montage pieces were mostly shot in one day with a small unit. There were two trucks used to transport the unit, made up of six crewmen, a cameraman, and a soundman, and equipment. Aykroyd drove the Ecto-1. No permits were obtained for shooting at places like Chinatown, the Rockefeller Center, 42nd Street, Saks Fifth Avenue, and the United Nations.  The crew went to bed at around 6 am and got up at 10 am. They went and chased Ecto-1 around making up scenes. They shot the night before and the night after. They shot on Central Park West all night with the crowds. Then they went to bed for a couple hours and started shooting all the reaction shots to the Stay Puft Marshmallow Man on the street.  Edlund and his crew also filmed background plates around New York, such as on the top of RCA Building for the ghost montage.  While the police department was very cooperative with helping the film crew, the shoots caused a lot of major traffic jams. The locals weren't very happy with the various disruptions. In one instance, Gross hid his Ghostbusters badge while Medjuck simply lied and said they were filming "The Cotton Club."  Some local businesses minded as well. The most trouble the film crew got in during shooting in New York was at Radio City Music Hall. It was private property. The crew was shooting on the street and a man in a suit asked Ivan Reitman and if he had permission. Reitman pulled over the location manager and told the man they had a permit. The man then said that the city couldn’t give a permit there since it was private property. Reitman then directed the man to talk to Joe Medjuck. Medjuck kept him busy while Reitman just kept on shooting. Finally, the man called a police officer over and reiterated it was private property and the cop said, "They have a permit, I can’t stop them from shooting." The man then pointed to a plaque in the sidewalk that said that the property was owned by Radio City and the cop just replied, "Hey, anyone could have put that there."  Surprisingly, the film crew was allowed to shoot scenes in New York City Hall for two days. City Council president Carol Bellamy's office was used as a stand-in for the Mayor's office as both were identical.

Three weeks into shooting, the crew quickly edited some footage together and did a first screening at Columbia Ranch. Footage from the library scenes were part of the first screening. The Library ghost's transformation was one of the only special effects done so far. The audience screamed and laughed.  Four weeks into shooting, the rights to the title Ghostbusters were still up in the air. As a precaution, three different signs were made to hang over the firehouse door. Ghoststoppers was on the only other name seriously considered. During the Central Park West shoots, when Ecto-1 makes its grand entrance, Joe Medjuck called Columbia from a phone booth to check on negotiations. He held up the receiver so the shouts of 300 extras chanting 'Ghostbusters! Ghostbusters!' could be heard.  Luckily, a deal was finally made with Filmation thanks in part to Frank Price after he left Columbia in October 1983.

### Los Angeles Filming

Around November-December, the main unit wrapped up filming in New York and went to Los Angeles for nine weeks of shooting at The Burbank Studios and various locations.  On the first day, only one shot was finished. Three shots were done on the second day. The production fell seven days behind. Murray hated being called to the set when the crew wasn't ready so assistant director Gary Daigler gave him a two way radio. Murray and Aykroyd hung out at a nearby sushi restaurant until they were called back. A standing set was used for the Fort Detmerring scene.  Stage 12 at The Burbank Studios was used for Fort Detmerring interiors, Dana and Louis' apartments, the apartment hallway, Sedgewick elevator, and Sedgewick corridor    John DeCuir constructed the million dollar Temple of Gozer set on Stage 16.

Locations used in Los Angeles included the Biltmore Hotel for some Sedgewick Hotel and 550 Central Park West scenes, a firehouse for interior Firehouse scenes, and the Los Angeles Public Library for the downstairs stacks scenes. Two days were spent at the Biltmore's banquet hall.

### Postproduction

Filming wrapped in February 1984 after 15 weeks of shooting in New York and Los Angeles. Richard Edlund and his special effects team had less than four months to complete about 200 to 260 optical effects. With around four to five weeks left, Ivan Reitman added 50 more shots then wanted to add 80 to 90 shots. Edlund allegedly met with Reitman out in the parking lot with a samurai sword and told him they had to do "the samurai cut." Edlund talked him down from a number of additional shots he requested. The effects cost $5.6 million total. Ghostbusters grossed more than $225 million.

## Scenes

*Scene names taken from the 1999 DVD release and the 2005 DVD release.*

**These articles are image intensive.**

* 01. Start
* 02. Shock the Nerd
* 03. "Get Her!"
* 04. Terminated
* 05. Fixer-Upper
* 06. Spook Central
* 07. Fried Eggs & Zuul
* 08. "Bug-Eyes Thing"
* 09. The 1st Customer
* 10. Checking Out Dana
* 11. "We Got One!"
* 12. "He Slimed Me!"
* 13. "Nice Shootin', Tex."
* 14. Welcome Aboard
* 15. E.P.A. Man
* 16. Dogs Drag Dana
* 17. "Who Brought the Dog?"
* 18. Terror on the Tavern
* 19. Peter's Date with Zuul
* 20. Keymaster
* 21. Out of Biz
* 22. Holding Cell
* 23. Keeper Meets Master
* 24. Biblical
* 25. Working the Crowd
* 26. Gozer
* 27. Stay Puft Man
* 28. Crossing Streams

### Deleted Scenes

Main article: Ghostbusters Movie Deleted Scenes

## Promotion

### Trailer

*For full coverage of trailers for the film, see Ghostbusters Movie Trailers article.*

*For full coverage of promotion and advertising for the film, see Ghostbusters Movie Advertising article.*

## Theatrical Releases

*Statistics without references are from The Numbers, which was found first on Proton Charging (Fan Site).*

Known USA Runs:

 Second Run
 Third Run

## Versions and Releases of Ghostbusters

### Prior Cuts

The original 114 minute test screening was completed on February 17, 1984. Sheldon Kahn is known to have owned a copy on Betamax tape. The Ghostbusters Ultimate Edition 4K Ultra HD Blu-ray 2022 Gift Set includes this test screening, referred to as a "preview cut" that contains alternate takes, additional scenes, and early effects.

### Home Video Releases

The VHS version of the movie was released on October 31, 1985.  The DVD version of the movie was released on June 29, 1999 and became one of the fastest selling units ever on Reel.com. Sony had announced at Comic-Con 2008 that the Blu-Ray version of the film was to be released on October 21, 2008, but it was actually released on June 16, 2009 to coincide with the release of Ghostbusters: The Video Game and the film's 25th anniversary.

*To read more on home video releases of the film, go to Ghostbusters Home Video Releases*

### Edited-For-Television Version

In the United States, Ghostbusters premiered on the ABC television network on Thursday September 24, 1987 at 9:00 PM Eastern as the season premiere of the "ABC Thursday Night Movie" series. The movie ran, with commercials, until 11:07 PM. The "edited for television" version features several alternate takes to replace some of the more objectionable dialogue.

*For more information to the edited for television version click here.*

### Foreign Markets‎‎

The Ghostbusters Movie was released all over the world. However, many aspects of the movie had to be localized.

 Ghostbusters
 S.O.S. Fantômes
 Ghostbusters – Die Geisterjäger
 Ghostbusters - Acchiappafantasmi
 ゴーストバスターズ
 Os Caça-Fantasmas
 Los Cazafantasmas
 Ghostbusters - Spökligan

## References

1. ↑ Theater Poster
2. ↑ IMDb- Ghostbusters / release info
3. ↑ Dan Aykroyd (2014). Ghostbusters 1 & 2 Gift Set (2014), "Who You Gonna Call: A Ghostbusters Restrospective" (2014) (DVD ts. 05:28-05:34). Columbia Pictures. *Dan says: "Uh, '81. Really was when I started to write it. In late '81."*
4. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 7. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "Other films and projects interrupted the screenwriting process, and John Belushi's sudden death put a further temporary hold on the work. "I'd been working on it, on and off, for a couple of years -- always with the idea of having John involved. I was, in fact, writing one of his lines when I heard that he had died.""*
5. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 7. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "Aykroyd presented his half-completed script to Bill Murray -- a fellow Saturday Night Live expatriot and alumnus of the Chicago-based Second City troupe. When Murray responded favorably to the concept, Aykroyd took it to Ivan Reitman, with whom he had worked briefly -- years before in Toronto -- as a comedian and announcer for a live television variety show."*
6. ↑ Ivan Reitman (2014). Ghostbusters 1 & 2 Gift Set (2014), "Who You Gonna Call: A Ghostbusters Restrospective" (2014) (DVD ts. 05:41-05:48). Columbia Pictures. *Ivan says: "It languished for a bit. Then I think you sent it to me... you spoke to Bill about perhaps picking up the mantle and he sent it to me."*
7. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 7. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: ""Dan had written only forty or fifty pages at that point," Reitman recalled, "and frankly, I had no idea how I would go about making it into a film. For on thing, it was set in the future -- not far in the future, but far enough -- and it took place on a number of different planets or dimensional planes. And it was all action. There was very little character work in it. The Ghostbusters were catching ghosts on the very first page -- and doing it on every single page after that, without respite -- just one sort of supernatural phenomenon after another. By the tenth page, I was exhausted. By the fortieth or fiftieth page -- however many there were -- I was counting the budget in hundreds of millions of dollars. And there really weren't very many laughs. Although I could detect a comic attitude, the whole thing was written rather seriously. In the end I just kind of set it aside and forgot about it.""*
8. ↑ Ivan Reitman (2014). Ghostbusters 1 & 2 Gift Set (2014), "Who You Gonna Call: A Ghostbusters Restrospective" (2014) (DVD ts. 06:10-06:34). Columbia Pictures. *Ivan says: "The idea of the firehall, the No Ghost symbol - this wonderful thing - it was right in the script Danny sent me. And amongst the 100 odd special effects monsters that were there, there was something called the Stay Puft Marshmallow Man. And it happened on page 20 or 30. It was really just one of many things."*
9. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 95. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "The encounter between the policeman and the Ectomobile is the only scene in the final shooting script which suggested that the vehicle itself had some extranormal powers -- a carryover from Dan Aykroyd's initial draft in which the Ectomobile was equipped with an advanced dematerializing capability that allowed its operators, functioning somewhat outside the law, to readily elude police pursuit."*
10. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 67 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "Dan Aykroyd's original Ectomobile was an all-black rather sinister-looking machine with flashing white and purple strobe lights that gave it a strange, ultraviolet aura. Though kept essentially intact through all the drafts, the vehicle concept -- suggesting a hearse rather more than an ambulance -- was clearly more in keeping with the darker tone of Aykroyd's first draft than with the lighter ones that followed it. It was cinematographer Laszlo Kovacs, however, who first pointed out a serious problem with it."*
11. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 7-8. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "Dan Aykroyd, however, did not. When the script was finished some months later, he submitted it to Reitman once again -- complete with conceptual illustrations and a quickie videotape of himself in a jumpsuit-based uniform embellished with makeshift nutrona wands and a proton pack fashioned from styrofoam and old radio parts. With several projects stalled in various stages of development, Reitman -- championing at the bit to get a film into production -- decided to give Ghostbusters a closer look."*
12. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 66 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "To help sell his original screenplay, Dan Aykroyd commissioned an artist friend -- John Daveikis -- to render a few preliminary design concepts. Among them was a proposal for the Ectomobile -- which, in contrast to its written description, was depicted as being white rather than black."*
13. ↑ Entertainment Weekly ""Ghostbusters: An Oral History" Richard Edlund quote 11/7/14
14. ↑ Labrecque, Jeff (2014). "Ghostbusters: An Oral History". Entertainment Weekly.
15. ↑ Wallace, Daniel (2015). *Ghostbusters The Ultimate Visual History*, p. 9. Insight Editions, San Rafael CA USA, ISBN 9781608875108. *Ivan Reitman says: "It was April 1983, and I was sent Dan Aykroyd's inventive futuristic treatment that introduced the idea that a group of men, acting much like firefighters, would trap and catch ghosts as part of a new protective emergency service for the universe at large."*
16. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 8. New York Zoetrope, New York NY USA, ISBN 0918432685. *Ivan Reitman says: "What I focused on, as I read the script again, was Dan's really brilliant initial concept -- the idea of a group of men who work out of an old firehall and respond to emergencies much the way firemen do. The only difference is that these emergencies are supernatural in nature -- and so what the Ghostbusters do is go out, trap ghosts and incarcerate them. Dan had come up with that concept, and had worked out the equipment and the car and all that sort of thing. He even thought out the basic idea for the Ghostbusters logo -- the little ghost inside a stop sign. That was one of the few things in the original draft that I had actually laughed at. But it seemed to me that the overall concept was diluted by setting the story in the future and then introducing fantasy elements and going off into other dimensions. So I called Dan and we had lunch at Art's Delicatessen and I told him what I thought ought to be done."*
17. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 8. New York Zoetrope, New York NY USA, ISBN 0918432685. *Ivan Reitman says: "I told Dan that I felt we should set the film in a modern American city and that we should tell how ghostbusting came about -- how the guys invented their equipment and the story of their first really big bust."*
18. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 8. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "Without hesitation, Dan Aykroyd expressed his agreement with the direction Ivan Reitman felt the screenplay should be taken. Reitman next suggested a writing collaboration between Aykroyd and Harold Ramis -- an extremely gifted comedy writer who had worked on the scripts for all three of Reitman's previous hits."*
19. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 7. New York Zoetrope, New York NY USA, ISBN 0918432685. *Dan Aykroyd says: "Right after our lunch meeting, Ivan and I walked over to Harold's office -- which, like Ivan's, was on The Burbank Studios lot. At the time, Harold happened to be reading another script I'd written about the Canadian Mounted Police. I told him to put that script aside, and I replaced it with the Ghostbusters one. After looking through the script and listening to what we had to say for about twenty minutes, he said, 'Okay, I'm in.'"*
20. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 8. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "Later that same afternoon, Reitman called his agent, Mike Ovitz -- who also had happened to represent Aykroyd, Ramis, and Murray -- and asked him to set up a meeting with Columbia Pictures chairman Frank Price."*
21. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 8-9. New York Zoetrope, New York NY USA, ISBN 0918432685. *Ivan Reitman says: "There was really nothing for him to read. I didn't want to give him Danny's script because it wasn't really relevant to where we were going, and it probably would have scared him. I just told him who was going to be involved and gave him a five-minute synopsis of the story -- the way it was going to go -- and he said, 'Well, what's it going to cost?' I said I had no idea -- there was no screenplay and no budget -- but that it was going to be expensive And he said, 'Keep it in the mid-twenties and you've got yourself a deal.'"*
22. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 9. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "The $25 million commitment had only one hitch -- but a big one. Columbia needed a major release for the summer of 1984. Reitman and his team had exactly one year to come up with a script, mount the production and complete the extensive and time consuming visual effects -- and his team at that point, aside from his writers, consisted solely of associate producers Joe Medjuck and Michael Gross."*
23. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 10. New York Zoetrope, New York NY USA, ISBN 0918432685. *Harold Ramis says: "Basically we worked out a new story that made sense to the three of us. Then Dan and I divided up the responsibility of getting it down in screenplay form. Ivan, as always, was a good validator -- which is a useful function for a writer."*
24. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 10. New York Zoetrope, New York NY USA, ISBN 0918432685. *Harold Ramis says: "It was my idea to set the guys as parapsychologists at a university."*
25. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 11. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "With studied inputs from Edlund and DeCuir, Ghostbusters' seat-of-the-pants budget estimate was refined and adjusted to just under $30 million."*
26. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 11. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "In the months that followed, cinematographer Laszlo Kovacs joined the group, as did costume designer Theoni V. Aldredge and editor Sheldon Kahn."*
27. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 11. New York Zoetrope, New York NY USA, ISBN 0918432685. *Ivan Reitman says: "After our first draft, we has the story pretty well locked in. We knew basically how we were going to have them start out and where we were going to go with them, but what took us several more drafts to work out were the details. For the longest time, the movie never really got going until the hotel scene -- which was around page 40. Then we added the library ghost, which got us off much earlier in the film; and by the time we started shooting, the ESP scene had been written in, which was very funny and got us moving right from the beginning."*
28. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 36 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Harold Ramis says: "In our first draft, the Ghostbusters were tossed out of a small New England college and then go to New York. But we realized that there was something very vital about being in the city, so we began thinking maybe we should start the film there. That's when we came up with the idea of using the New York Public Library for our opening sequence."*
29. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 36 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Harold Ramis says: "Prior to that, it had been set in a nice, converted farmhouse where this family has been bothered by incessant knocking that they're unable to trace. So we're in there climbing all over the house, knocking out walls and ripping up floorboards in their nicely remodeled kitchen. And at the end of the scene, all we're able to tell them is, 'Well, you've got a knocking.' 'We know we've got a knocking! What's causing it!' 'We'll have to get back with you on that.' It was a little cruel and not very dynamic -- but it sort of touched on the mundanity of some supernatural phenomena."*
30. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 44 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "Dana Barrett's character changed dramatically as the script evolved. Aware that the story needed a love interest, Aykroyd and Ramis decided to write one into their initial collaborative draft. Being more attuned to comedy than romance, however, their first effort resulted in an alien fugitive from another dimension which transforms itself into human female form."*
31. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 44 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "The character makes his first appearance in the June draft as a fellow refuge of the creature which was to become Venkman's interdimensional love interest. With a diet cola television commercial for inspiration, one creature transforms itself into a beautiful woman, while the other transforms into a heavy-set man."*
32. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 124 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "The exchange between Louis and the horse harkens back to a deleted scene from the June and July drafts in which Venkman and the alien Zuul -- masquerading as human in Dana's body -- leave the restaurant and encounter several carriage horses. Noticing the bridles and harnesses, Zuul inquires if they are prisoners. Uncertain of her reaction, Venkman responds promptly: "No, no. They're volunteers. This is considered a good job for a horse." "They look so sad," Zuul laments, and then kisses one of the beasts with enough genuine emotion to elicit a worried look from the carriage driver. In the June draft, Venkman pulls her away and segues -- ever so smoothly -- into an invitation which leads to his surprise wakeup the next morning: "You know, I was just thinking. No trip to this dimension would be complete without a visit to the Times Square Motor Hotel."*
33. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 44 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Harold Ramis says: "Venkman's affair with the interdimensional creature was funny, but not very romantic. He wakes up with her one morning and she is this kind of wart hog -- which we realized was rather lacking in real human connection and love."*
34. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 126 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "Eventually cut from the script was a restaurant sequence which appeared in the June and July drafts. In both, Venkman takes Dana -- an interdimensional alien masquerading as a beautiful woman in the first draft, and a beautiful woman possessed by an interdimensional alien in the second -- to a fashionable restaurant. Her unfamiliarity with the finer points of human etiquette becomes apparent when, upon arrival, she observes several ladies removing their wraps and proceeds to follow their example by taking off her blouse."*
35. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 145 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "The flying fish-like ghost which fits out of the subway entrance was a mere reminder of a much more elaborate introduction to the montage conceived by Ramis and Aykroyd in their first collaboration. In that draft, rather than making an aerial passage uptown, the ghosts descend into an all but deserted subway station. As a transit cop chats amiably with a female cashier, the subway turnstiles begin spinning unaccountably. Investigating, the officer discovers a huddled mass of ghosts and vapors hovering directly over the tracks. When a speeding express train passes by, the spirits hitch a collective ride uptown - taking over the cars en masse and sending everyone from motormen to muggers fleeing before them.'"*
36. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 165 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph says: "In the first collaborative draft, even though the storage facility was now in the firehall, a similar concept was employed - with Spengler pinpointing a small community in northern New Jersey as the likely epicenter of major psychic activity, due to its central proximity in three nuclear power plants and a number of chemical waste storage areas."*
37. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 197 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "The Stay-Puft confrontation came considerably later in the first Aykroyd-Ramis collaboration, but even in that draft, the Ghostbusters were to regroup in New Jersey for a final battle with the Gozer in its most terrifying form - a swirling psychic maelstrom topped by a disembodied aphid's head of monstrous proportions."*
38. ↑ Ivan Reitman (2014). Ghostbusters 1 & 2 Gift Set (2014), "Who You Gonna Call: A Ghostbusters Restrospective" (2014) (DVD ts. 18:44-19:03). Columbia Pictures. *Ivan says: "My favorite time working on this movie was the three of us - Dan, Harold and I went to Martha's Vineyard. We each had a house. Aykroyd was already living there. And we spent 2 and a half weeks around the July 4th weekend and basically hammered out this new draft."*
39. ↑ Dan Aykroyd (2014). Ghostbusters 1 & 2 Gift Set (2014), "Who You Gonna Call: A Ghostbusters Restrospective" (2014) (DVD ts. 19:04-19:09). Columbia Pictures. *Dan says: "In my basement. So we wouldn't look out at the sea. With an old Royal electric typewriter."*
40. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 68 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "In the July and August drafts, Spengler conducts an early demonstration of the experimental ghostbusting equipment for his comrades at the firehall. Since the self-contained unit is still under development, the existing prototype is plugged into an AC outlet.* An audible surge of power runs from the wall socket along the extension cord to the power pack on Spengler's back. The pack heats up to 550 degrees and kicks the electrical surge back down the wire to the wall outlet which melts. At once, all the lights in the room black out. *Compounding the gag, the action then cuts to an exterior of the firehouse as all the lights in and on the building go out, as does the street lamp and the stoplight at the corner. Then the action cuts once again to a long shot of downtown office buildings as they all black out in rapid succession, leaving dark silhouettes against the night sky."*
41. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 78 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "After going through an evolutionary design process, the hotel ghost finally emerged as a green, potato-shaped creature -- and it was at this point, in July, that its description as such was incorporated into the script. Prior accounts were less specific, indicating merely that it was an incredibly foul-smelling amorphous vapor."*
42. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 126 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "Later in the July draft, Louis Tully -- then a visiting conventioneer, also possessed -- enters the same restaurant..."*
43. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 197 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "Though present in every draft of the script, the Stay-Puft marshmallow man did not become the Ghostbusters' final encounter until the July rewrite. "*
44. ↑ Ivan Reitman (2014). Ghostbusters 1 & 2 Gift Set (2014), "Time Is But A Window: Ghostbusters II and Beyond" (2014) (DVD ts. 09:00-09:21). Columbia Pictures. *Ivan says: "As we were developing the uh second or third draft, we came to the conclusion that we needed this kind of character to explain certain things and be a more elegant way of doing it and I felt the movie needed a ump up in terms of a new character coming in on the good guy's side that helped."*
45. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 54 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads says: "The inclusion of Winston was in clear response to a perceived notion on the part of the filmmakers that the team needed to embrace a fourth member who could serve as the on-screen voice of the viewing public -- a no-nonsense professional, with a major streak of skepticism when it came to the avowed objectives of his employers. On further reflection, however, it was decided to delay Winston's introduction until after the Ghostbusters' first big score when, conceivably, they could really begin to need some augmentation."*
46. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 54 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "In the July and August drafts, Dana's appearance at the firehall is preceded by a scene in which Winston Zeddemore -- armed with enough references to nail down a job as security chief for the White House -- presents himself in reply to a trifling 'help wanted' ad for a guard."*
47. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 203 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "Alternate endings in earlier drafts included scenes within the towering glass and chrome headquarters of Ghostbusters International - now a high-rolling multinational corporation "recognized everywhere as the first line of defense against interdimensional trespassers." The July draft even attempted to wrap up the romantic loose ends. Venkman and Dana set up housekeeping, Spengler and Janine are married, and Stantz returns to Fort Detmerring for spiritual renewal."*
48. ↑ Ivan Reitman (2014). Ghostbusters 1 & 2 Gift Set (2014), "Who You Gonna Call: A Ghostbusters Restrospective" (2014) (DVD ts. 19:10-19:39). Columbia Pictures. *Ivan says: "And it was being constantly rewritten and re-edited. Re-commented on. And really by the time we left which was the 10th of July, we had a pretty good script. It wasn't the script we shot but it was enough of a script to say 'we need this character, we need this character down the hall, we need a woman.' I can start auditioning people while ther rewriting continued and we were shooting the movie in October and it came out in June."*
49. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 87 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "Instructed to cut loose with his imagination, Italian comic artist Liberatore produced a number of extreme, highly eccentric ghost concepts -- none of which actually ended up in the film."*
50. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 143 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Ivan Reitman says: "During the script-writing stage, we didn't concern ourselves too much with what forms our ghosts would take. But as the director, I had to start worrying about that during preproduction. To help with the brainstorming process, we hired a number of freelance artists to sketch out ideas - there were literally hundreds of different concepts by the time they were done - and from those, I just basically mixed and matched and tried to come up with a delectable assortment.'"*
51. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 46. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "During the film's preproduction phase, Berni Wrightson produced some fifty conceptual illustrations, exploring everything from Terror Dogs and ghosts to transdimensional portals and beyond. Working under short deadline, Wrightson would sometimes respond to the tension with a momentary lapse into whimsy -- letting his cartoonist's instincts get the better of him, as in this comic rendering of a ghostly barbershop quartet."*
52. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 11. New York Zoetrope, New York NY USA, ISBN 0918432685. *Ivan Reitman says: "Under the auspices of Michael Gross, we hired a number of artists who were put to work doing sort of free-form designs for the various kinds of ghosts I could see developing in the story."*
53. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 11. New York Zoetrope, New York NY USA, ISBN 0918432685. *Ivan Reitman says: "Michael was also doing some preliminary research into who might be available to handle the effects."*
54. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 11. New York Zoetrope, New York NY USA, ISBN 0918432685. *Michael Gross says: "Unfortunately, most of the major effects facilities were already booked. Dune was over at Apogee at the time, and Industrial Light and Magic was finishing Return of the Jedi and beginning Indiana Jones and Star Trek III."*
55. ↑ Richard Edlund (1999). **Ghostbusters** (1984) "SFX Team Featurette" (1999) (DVD ts. 00:49-00:59). Columbia Pictures. *Richard Edlund says: "It was a... opportunity that came by way of a phone call from Ivan Reitman when I was having an operation on my back."*
56. ↑ Don Shay comment in blog about Cinefex #17 4/10/12
57. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 11. New York Zoetrope, New York NY USA, ISBN 0918432685. *Michael Gross says: "Then we learned Richard Edlund was planning to leave ILM to go into business for himself."*
58. ↑ Ivan Reitman (2014). Ghostbusters 1 & 2 Gift Set (2014), "Who You Gonna Call: A Ghostbusters Restrospective" (2014) (DVD ts. 18:05-18:43). Columbia Pictures. *Ivan says: "And uh that was 13 months after that moment. There was no screenplay, there was no... we had the cast and a brilliant idea, no special effects team. There was one great special effects house, Industrial Light & Magic and it was already tied up doing the new Spielberg movie and we knew we couldn't go to them. We had to create out own. Columbia actually fronted $5 million to Richard Edlund and he started his own. Boss Films it was called. It was the start of his own special effects house that was exclusively working on Ghostbusters."*
59. ↑ Richard Edlund (1999). **Ghostbusters** (1984) "SFX Team Featurette" (1999) (DVD ts. 01:46-02:08). Columbia Pictures. *Richard Edlund says: "Once I got the "go," we all came together in a studio in Marina Del Ray which was kind of a pile of parts and we had, essentially, rebuilt the whole studio, came up with techniques and styles for doing the whole show, designed and storyboard everything and execute within the space of little over 10 months."*
60. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 50 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "Preproduction was well underway before anyone realized that Filmation had produced a short-lived Saturday morning children's show called The Ghost Busters during the 1975-76 television season. Columbia promptly entered into negotiations with Filmation to secure rights to the title; but the talks bogged down, and through most of the New York location photography, Reitman and company were uncertain as to what their film would eventually be called."*
61. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 49 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Harold Ramis says: "In our previous draft, there was another effect besides the self-cooking eggs. Also on the counter was a loaf of bread in a plastic bag. We wanted to have the bag puff out and steam up to the point where it started to peel away. Then, one by one, the pieces of bread were going to heat up, turn brown, and fall over as toast. But Ivan thought the eggs really sold the scene, and he didn't want to go to the time and expense of having a loaf of bread toasting itself."*
62. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 50 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "At one point, another scene was to follow Dana's departure. As soon as she left the kitchen, every metal appliance and utensil in sight was to fly across the room and stick to the refrigerator door. After discussing numerous ways to achieve the effect -- the most likely being attaching the implements to the refrigerator and then yanking them away with invisible wires as the camera recorded the action in reverse -- the idea was discarded as unnecessarily difficult. In the final edit, the entire sequence cuts immediately after Dana slams the refrigerator door."*
63. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 152 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "Shandor was dropped altogether from the first two Aykroyd-Ramis collaborations, but resurfaced in the third - in name, at any rate - with an even more unsavory background than that suggested by the final shooting script. As recounted by Spengler in the August draft, Ivo Shandor was a deranged surgeon, architect and Gozer worshiper, electrocuted at Sing Sing after his attempted abduction of a teenage girl led police to his penthouse apartment, furnished impeccably - if not tastefully - with stacks of human bones."*
64. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 70 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "The Onionhead's film debut, as depicted in storyboard form by Thom Enriquez. Though the ghost design and its essential action were already locked in, these early sketches show Venkman and Stantz discovering the ghost together -- a story point that was altered sometime between the August draft and the final shooting script."*
65. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 115 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "As originally scripted for John Candy, the Louis Tully character was to have had decidedly earthier interests -- best evidenced in the party sequence as it appeared in the August draft."*
66. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 121 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "In the August draft, Louis' attempted escape into Central Park is preceded by a sequence in which -- having just emerged from the apartment house -- he flags down a passing taxi and jumps inside. Seconds later, the Terror Dog bounds out of the building and launches itself onto the hood of the cab. In true New York form, the driver hurls a few expletives at the beast, guns his motor and speeds away, causing the creature to lose its balance and fall by the wayside. Undaunted, the Terror Dog takes off in hot pursuit, chasing the taxi through the streets of Manhattan."*
67. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 12. New York Zoetrope, New York NY USA, ISBN 0918432685. *Ivan Reitman says: "The whole script came together in about three months."*
68. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 44 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Joe Medjuck says "By the time shooting actually began, though, John was no longer available. Fortunately, Rick Moranis was and he really helped to tailor the character. He came up with the idea of Louis being an accountant, and the character really started to evolve from that point on."*
69. ↑ Ivan Reitman (2014). Ghostbusters 1 & 2 Gift Set (2014), "Who You Gonna Call: A Ghostbusters Restrospective" (2014) (DVD ts. 14:24-15:10). Columbia Pictures. *Ivan says: "In terms of shifting from the original screenplay, I don't know if you remember we wrote it for John Candy. I remember sending it to Candy because I just worked with him again on Stripes and John didn't get it. He kept saying, 'Hey, well maybe I can do him with a German accent ' and I was a little hesitant right away. It was an odd thing in an American based movie and he was looking for a handle. And we got into the uncomfortable conversation. And finally it was clear he wasn't going to do it. And I literally called Rick Moranis the same day and sent him the script the same day. Candy turned it down. Rick called me like 2 hours after he got it. He said, 'Please thank Candy for turning this down This is amazing. I know what to do with it.'"*
70. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 12. New York Zoetrope, New York NY USA, ISBN 0918432685. *Ivan Reitman says: "I told him we were pushing for an October start date -- just a week or two after he was supposed to get back -- and he said, 'Okay, I'll see you then.' And that was about the extent of our preproduction discussion -- until about a week or two before shooting, when he flew in to try on some costumes and then disappeared back to Paris for a few more days of last-minute photography on Razor's Edge."*
71. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 12. New York Zoetrope, New York NY USA, ISBN 0918432685. *Harold Ramis says: "Ivan wanted me with him, so we drove out to La Guardia. Bill flew in on a private plane, an hour late, and came through the terminal with a stadium horn -- one of those bullhorns that plays eighty different fight songs -- and he was addressing everyone in sight with this thing and then playing a song. We dragged him out of there and went to a restaurant in Queens."*
72. ↑ Greene, James, Jr., (2022). *A Convenient Parallel Dimension: How Ghostbusters Slimed Us Forever*, p. 41. Lyons Press, Essex, CT USA, ISBN 9781493048243. *Line reads: "Such resolve had to carry Murray into Ghostbusters, which started for him on October 27. The Razor's Edge left him physically drained and thirty-five pounds lighter. Unfortunately, there was no time to rest. "I got off the Concorde from Razor's Edge and drove to 62nd Street and Madison to work on (Ghostbusters)," he said. "I left Paris at 9:30 in the morning and went to work at 11 o'clock in the morning in New York. I will never do that again. That was terrible. I mean, I was asleep the whole time." Nerves kept Peter Giuliano from doing anything but sleeping his first day on Ghostbusters."*
73. ↑ Ivan Reitman (2014). Ghostbusters 1 & 2 Gift Set (2014), "Who You Gonna Call: A Ghostbusters Restrospective" (2014) (DVD ts. 03:17-03:44). Columbia Pictures. *Ivan says: "It was a week before shooting began but we were doing some camera tests that day and also wardrobe tests. And for the wardrobe test I thought 'Well, let's just shoot one of those sort of montage pieces when they first become Ghostbusters and it's the three Ghostbusters running down the streets in their uniforms. It was Madison Avenue around Sixty First and I sort of just look up and I see them for the first time and I got this amazing shiver up my spine."*
74. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 12. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "With a final script at last in hand, Reitman and his production team gathered in New York in late October for a week of preliminary second unit work, followed by three-and-a-half weeks of principal photography."*
75. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 26. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "Commencing in late October 1983, first and second unit crews blanketed the island of Manhattan recording all the scenes necessary to adequately ground the Hollywood production in a convincing New York environment."*
76. ↑ Ivan Reitman (2005). **Ghostbusters**- Commentary (2005) (DVD ts. 54:01-54:02). Columbia TriStar Home Video. *Ivan Reitman says: "Yeah, this was in October when... "*
77. ↑ Joe Medjuck (2005). **Ghostbusters**- Commentary (2005) (DVD ts. 54:02-54:06). Columbia TriStar Home Video. *Joe Medjuck says: "This was when we went a week early. Shot for five days. Most of this. "*
78. ↑ Ivan Reitman (2005). **Ghostbusters**- Commentary (2005) (DVD ts. 1:09:26-1:09:30). Columbia TriStar Home Video. *Ivan Reitman says: "This is all part of that very early shooting we did back in October as I remember. "*
79. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 152 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "Venkman's line was a last-minute insertion into the script."*
80. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 152 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Harold Ramis says: "Some things are impossible to anticipate as you're writing. When we actually got to the jail scene and saw all those brutes standing around us, I suggested to Ivan that they watch us and listen intently to all this physics and technical stuff we were talking about. Then Bill could say, 'Everybody with us so far?' It's a natural. But it's something you wouldn't think of until got to the actual set and saw the physical relationship between everything."*
81. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 156 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "Dialogue in the mayor's office changed considerably during rehearsals and shooting."*
82. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 160 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "As shot, the long-delayed joining of Zuul and Vinz took a somewhat different form and was cut into the film between the Ghostbusters' release from the holding cell and their arrival at City Hall. Since it was decided earlier that a definite link needed to be established between the ghostly disturbances and the apartment building on Central Park West, a scene was added at the end of the ghost montage showing the possessed Dana looking out her window as clouds of disembodied spirits stream up from lower Manhattan. As they swoop past her penthouse apartment, en route to the rooftop temple, the wall between them explodes outward."*
83. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 160 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "The conversation between Venkman, Stantz and the mayor was cut from the film, as was Spengler's subsequent exchange with Janine - yet another attempt to establish an off-beat romantic tie between them."*
84. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 165 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph says: "Missing from the script is the dialogue between the men as they trudge up the stairs - some of which was improvised on the spot and some of which was added later in looping."*
85. ↑ Joe Medjuck (2005). **Ghostbusters**- Commentary (2005) (DVD ts. 12:25-12:27). Columbia TriStar Home Video. *Joe Medjuck says: "No, this was the first day of principal photography. "*
86. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 16 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "Exteriors of the New York Public Library and scenes within its main reading room consumed only part of a single day's location shooting. From a logistics standpoint, the interiors were especially demanding since the expansive reading room had to be lit, the action staged and photographed, and then everything cleared away -- all within the few short hours available between the crew's 5 a.m. call and the library's 10 a.m. opening to the public."*
87. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 37 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "The Irving Trust bank on Avenue of the Americas eventually became the fictional Manhattan City Bank -- with the sequence being filmed directly across from the New York Public Library on Fifth Avenue, late in the afternoon of the same day the exterior and interior library footage had been shot."*
88. ↑ Ivan Reitman (2005). **Ghostbusters**- Commentary (2005) (DVD ts. 1:09:40-1:09:45). Columbia TriStar Home Video. *Ivan Reitman says: "Also from the first week of shooting on Madison Avenue. "*
89. ↑ Joe Medjuck (2005). **Ghostbusters**- Commentary (2005) (DVD ts. 1:09:53-1:09:54). Columbia TriStar Home Video. *Joe Medjuck says: "This is Broadway, I think. "*
90. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 146 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Joe Medjuck says: "The hot dog vendor was one of the very first things we shot. It was included because it provided an opportunity for us to reintroduce the Onionhead ghost from the hotel - again eating and belching. Not only that, we thought, ' How can we shoot the streets of New York without including a hot dog cart?'"*
91. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 91 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Joe Medjuck says: "Most of the montage was shot in one day in New York. We had been working late the night before with the full crew, then got up early in the morning and went all over town with a small crew, shooting stuff. We went to Chinatown, Rockefeller Center, 42nd Street, Saks Fifth Avenue and the United Nations -- all in one day. We didn't really have permits to shoot in any of these places -- we just made quick stops here and there. That's pretty much the way Ivan made movies in the old days -- a small crew, moving fast. We had two small trucks with equipment, and Danny was actually driving the Ectomobile, having a great time. And the crowds on 42nd Street are real. You put Bill Murray and Dan Aykroyd on a street corner, and you have no trouble drawing a crowd."*
92. ↑ Beyond the Marquee Joe Medjuck Interview 9/15/14
93. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 143 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "The ghostly multitudes streaming uptown from lower Manhattan would ultimately become the first shot in the ghost montage - a whirlwind assemblage of scenes featuring supernatural entities of various forms and demeanors running rampant through the city. Background plates for the panoramic view were shot from atop the RCA Building by Richard Edlund and his crew. Spectral imagery - as with the firehall 'ghost geyser' material - was generated and added later at Entertainment Effects Group.'"*
94. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 184 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Michael Gross says: "The city - particularly the police department - was wonderfully cooperative. But an awful lot of the local populace was less than happy with the disruption of their daily routine. Even when you're shooting at one in the morning, things are going to get congested in New York. There were times when we had traffic backed up for miles in all directions. We all wore buttons that said 'Ghostbusters Crew' so we could move around the shoot without being stopped by production assistants. One night, just after we finished, I went into a bar down the street from where we'd been shooting. A guy came in, really angry, yelling: 'What the hell's going on? Traffic's backed up for miles!' I just sat there, quietly removed my crew button, and hid it in my pocket. Joe Medjuck had his own way of dealing with the problem. Whenever somebody asked him what we were shooting, he told them The Cotton Club."*
95. ↑ Beyond the Marquee Joe Medjuck Interview 9/15/14
96. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 154 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "The production unit filmed for two days in and around New York's City Hall, during which time the office of City Council president Carol Bellamy was graciously made available as a stand-in for the actual mayor's office cited in the script."*
97. ↑ Ivan Reitman (2005). **Ghostbusters**- Commentary (2005) (DVD ts. 10:24-11:05). Columbia TriStar Home Video. *Ivan Reitman says: "But he um this first moment of seeing the Librarian and the Librarian shift... I remember our first screening. Our first test screening was only three weeks after we finished shooting. We edited the movie very quickly. It came together nicely and we didn't have much of our special effects but we had this one here, not so much this one but the one that's coming up - the transformation and when we screened it for this audience for people at Columbia Studios they just freaked out... both screamed and laughed at the same time. It was a sense of how the movie was going to work, both truly scary and really funny. "*
98. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 162 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Joe Medjuck says: "At the time we were shooting the big arrival outside Dana's apartment building, we still didn't know for certain whether we were going to be able to use the Ghostbusters title. Negotiations were still underway, I remember going to a phone booth on the corner, calling Columbia and holding up the receiver so they could hear the three hundred screaming extras we had tying up traffic, shouting 'Ghostbusters! Ghostbusters!' as the guys arrived. And I said to them, 'You better damn well get that title!'."*
99. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 50 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Joe Medjuck says: "We were about four weeks into shooting before we knew for certain that we could use the name. Because of that, we had three different signs made up for the carpenter to hang over the firehouse door -- each with a different name on it, although the only other serious contender was Ghoststoppers. Finally, we struck a deal with Filmation that allowed us to stick with our original title."*
100. ↑ Frank Price (2019). The Movies That Made Us Episode 3 Ghostbusters (2019) (Stream ts. 38:04 to 38:41). Netflix. *Frank Price says: "It was serendipitous that I happened to go there and I was able to say ‘make the deal’! Get... Give ‘em the title!"*
101. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 12. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "The main unit then reassembled back in Los Angeles for an additional nine weeks of shooting on The Burbank Studios soundstages and at various area locations."*
102. ↑ Wallace, Daniel (2015). *Ghostbusters The Ultimate Visual History*, p. 47. Insight Editions, San Rafael CA USA, ISBN 9781608875108. *Line reads: "While on the East Coast, the crew notched a record of twenty-six shots in a single day, but during their first day in LA, they finished only one shot. The second day bagged only three. Almost immediately, the production fell seven days behind."*
103. ↑ Wallace, Daniel (2015). *Ghostbusters The Ultimate Visual History*, p. 47. Insight Editions, San Rafael CA USA, ISBN 9781608875108. *Gary Daigler says: "Bill hated to be called to the set when we weren't ready. I said to the cameraman, 'Look, I can't bring these guys back-especially Bill-and do ten minutes of relighting. I wound up giving Bill a two-way radio. He and Danny would to to a nearby sushi restaurant, and I'd call them on the radio and say, 'Dan, Bill, we're ready for you now.' He respected that, and it wound up being a good relationship."*
104. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 130 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "In a scene deleted from the final film, the Ectomobile arrives at Fort Detmerring -- a standing set at the Columbia Ranch, dressed rather simply with an identifying sign and a guard shack."*
105. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 135 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "Ivan Reitman and Dan Aykroyd discuss an upcoming shot in the truncated Fort Detmerring sequence, filmed on a small set adjacent to Dana's apartment on Stage 12."*
106. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 71 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "The interior of the elevator and all the corridors of the hotel were actually sets constructed on Stage 12 at The Burbank Studios.""*
107. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 45 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "The sprawling apartment house interiors -- two key apartment and the hallway between them -- extended over two adjoining soundstages on the Burbank studios lot."*
108. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 104 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "John DeCuir's mammoth rooftop set constructed on Stage 16 at The Burbank Studios."*
109. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 107 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "Prior to construction of the million-dollar set, DeCuir prepared a small foam core study model."*
110. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 81 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "Though the hallway action took place on a soundstage, the sequence which follows was shot at the Biltmore Hotel. Modified with a breakaway chandelier and a set of prefabricated replacement walls, the ornate banquet facility was taken over by the film crew and occupied for two days."*
111. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 165 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph says: "The apartment building's 'thirty-five flights of stairs' were, in reality, only two flights of stairs - filmed at the Biltmore Hotel location used earlier for the fictitious Sedgewick Hotel. The remaining flights were added in postproduction by the Entertainment Effects Group matte department."*
112. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 38 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Joe Medjuck says: "The firehouse in Los Angeles is a huge place -- three stories high. And all of the scenes that were supposed to take place in the firehouse were actually filmed in the firehouse. None of that was done at the studio. When the script says 'basement of the firehouse,' we are actually in the basement of that firehouse. Though John DeCuir added lots of things to dress the place, most of the essential elements were already there."*
113. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 32 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "Murray, Aykroyd and Ramis were filmed on location at the Los Angeles Public Library, while the actress playing the ghost was photographed on an effects stage at Entertainment Effects Group and then inserted optically in the shots."*
114. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 12. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "When the show wrapped in early February, Richard Edlund and his crew had less than four months to complete nearly two hundred postproduction opticals."*
115. ↑ Terry Windell (2009). **Ghostbusters**- Slimer Mode (2009) (Blu-Ray ts. 06:00-06:09). Columbia TriStar Home Video. *Terry Windell says: "I mean, there was 200--I think we did 260-something shots. Multilevel, multi-pass photography. All shot in-camera and then all optically composited."*
116. ↑ Richard Edlund (2009). **Ghostbusters**- Slimer Mode (2009) (Blu-Ray ts. 06:37-07:04). Columbia TriStar Home Video. *Richard Edlund says: "And then Ivan, I remember, towards the end of the show we had, like, I don't know, four or five weeks left. He added 50 shots. And he wanted to add, like, about 80 or 90 shots. And I met him out in the parking lot with a samurai sword and said, "Ivan, we gotta do the samurai cut." And so I talked him down from this outrageous number of shots that he wanted."*
117. ↑ Richard Edlund (1999). **Ghostbusters** (1984) "SFX Team Featurette" (1999) (DVD ts. 03:15-03:26). Columbia Pictures. *Richard Edlund says: "And the effects ultimately, in Ghostbusters, wound up costing $6.5 million. If we done Dan's original script, it would have been $40 million."*
118. ↑ Shay, Don (November 1985). *Making Ghostbusters*, p. 13. New York Zoetrope, New York NY USA, ISBN 0918432685. *Paragraph reads: "When the final count was in, Ghostbusters had grossed more than $225 million -- making it the most successful motion picture comedy of all time."*
119. ↑ The Numbers:Ghostbusters
120. ↑ Proton Charging:Ghostbusters By the numbers
121. ↑ Tested YouTube "Adam Savage and Jason Reitman Talk Ghostbusters: Afterlife!" 11/23/21 *Jason Reitman says: "He edited Ghostbusters and was going through old videotapes recently literally just a stack of VHS's when he found this. This is the first screening of Ghostbusters. The first time anyone ever saw-an aud-any audience ever saw the original. This is the test screening. It has all rough effects. It all-has you know scene missing banners, no-no marshmallow man, just drawings--on beta."*
122. ↑ Newspapers "Asbury Park Press from Asbury Park, New Jersey · Page 48" October 9, 1985 *Line reads: "Ghostbusters The Video Event of the Year begins October 31st."*
123. ↑ Spook Central - Ghostbusters On Home Video, section "Advertisements", first ad *Line reads: "Available on videocassette this Halloween!"*