↑ 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.""

↑ 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."

↑ 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.""

↑ 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." 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.

↑ 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."

↑ 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."

↑ 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."

↑ 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."

↑ Labrecque, Jeff (2014). "Ghostbusters: An Oral History". Entertainment Weekly.

↑ 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."

↑ 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."

↑ 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."

↑ 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."

↑ 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.'"

↑ 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."

↑ 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.'"

↑ 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."

↑ 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."

↑ 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."

↑ 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."

↑ 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."

↑ 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."

↑ 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."

↑ 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."

↑ 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."

↑ 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."

↑ 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."

↑ 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."

↑ 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."

↑ 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.'"

↑ 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."

↑ 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."

↑ Ivan says: "My favorite time working on this movie was the three of us - Dan, Harold and I went to Martha's Vineyward. 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." 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.

↑ 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."

↑ 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."

↑ 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..."

↑ 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. "

↑ 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." 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.

↑ 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."

↑ 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."

↑ 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."

↑ 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." 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.

↑ 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."

↑ 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.'"

↑ 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."

↑ 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."

↑ 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."

↑ 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."

↑ 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." Richard Edlund (1999). Ghostbusters (1984) "SFX Team Featurette" (1999) (DVD ts. 00:49-00:59). Columbia Pictures.

↑ 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."

↑ 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." 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.

↑ 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." Richard Edlund (1999). Ghostbusters (1984) "SFX Team Featurette" (1999) (DVD ts. 01:46-02:08). Columbia Pictures.

↑ 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."

↑ 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."

↑ 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."

↑ 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."

↑ 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."

↑ 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."

↑ 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."

↑ 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."

↑ 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."

↑ 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 uncomftorable 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.'" 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.

↑ 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."

↑ 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."

↑ 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." 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.

↑ 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."

↑ 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."

↑ Ivan Reitman says: "Yeah, this was in October when... " Ivan Reitman (2005). Ghostbusters - Commentary (2005) (DVD ts. 54:01-54:02). Columbia TriStar Home Video.

↑ Joe Medjuck says: "This was when we went a week early. Shot for five days. Most of this. " Joe Medjuck (2005). Ghostbusters - Commentary (2005) (DVD ts. 54:02-54:06). Columbia TriStar Home Video.

↑ Ivan Reitman says: "This is all part of that very early shooting we did back in October as I remember. " Ivan Reitman (2005). Ghostbusters - Commentary (2005) (DVD ts. 1:09:26-1:09:30). Columbia TriStar Home Video.

↑ 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."

↑ 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."

↑ 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."

↑ 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."

↑ 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."

↑ 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."

↑ Joe Medjuck says: "No, this was the first day of principal photography. " Joe Medjuck (2005). Ghostbusters - Commentary (2005) (DVD ts. 12:25-12:27). Columbia TriStar Home Video.

↑ 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."

↑ 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."

↑ Ivan Reitman says: "Also from the first week of shooting on Madison Avenue. " Ivan Reitman (2005). Ghostbusters - Commentary (2005) (DVD ts. 1:09:40-1:09:45). Columbia TriStar Home Video.

↑ Joe Medjuck says: "This is Broadway, I think. " Joe Medjuck (2005). Ghostbusters - Commentary (2005) (DVD ts. 1:09:53-1:09:54). Columbia TriStar Home Video.

↑ 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?'"

↑ 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."

↑ 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.'"

↑ 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."

↑ 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."

↑ 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. " Ivan Reitman (2005). Ghostbusters - Commentary (2005) (DVD ts. 10:24-11:05). Columbia TriStar Home Video.

↑ 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!'."

↑ 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."

↑ 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!"

↑ 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."

↑ 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."

↑ 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."

↑ 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."

↑ 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."

↑ 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.""

↑ 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."

↑ 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."

↑ 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."

↑ 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."

↑ 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."

↑ 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."

↑ 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."

↑ 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."

↑ 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." Terry Windell (2009). Ghostbusters - Slimer Mode (2009) (Blu-Ray ts. 06:00-06:09). 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." Richard Edlund (2009). Ghostbusters - Slimer Mode (2009) (Blu-Ray ts. 06:37-07:04). Columbia TriStar Home Video.

↑ 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." Richard Edlund (1999). Ghostbusters (1984) "SFX Team Featurette" (1999) (DVD ts. 03:15-03:26). Columbia Pictures.

↑ 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."

↑ Shay, Don (November 1985). Making Ghostbusters, p. 82 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "Though the nutrona wands employed in the film are clearly rifle-inspired firearms, the high-tech ghost-herding devices of Dan Aykroyd's original concept were indeed wand-like. Attached via thick black flex-cords to a back-mounted proton power source, the wands were strapped in place at the wrist -- one on each arm -- and extended out along the palm to a point six inches beyond the fingertips. When fired -- by means of an elbow toggle switch on the backpack -- phosphorescent beams of red and green light issued forth."

↑ Shay, Don (November 1985). Making Ghostbusters, p. 84 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "Overall, the Onionhead entrapment follows -- with a fair degree of faithfulness -- the opening sequence in Dan Aykroyd's solo script. As originally drafted, the Ghostbusters respond to a call from the Greenville Guest House regarding the discovery in the kitchen of gluttonous yellow mist or grotesquely altered human form -- a 'FRVP' or 'free-repeating vaporous phantasm' in ghostbusting lingo. After chasing the apparition -- described as 'onion-headed' at one point -- through the rustic guest home, the Ghostbuster corner it in the basement, encircle it with nutrona beams and maneuver it into a small collapsible trap."

↑ Shay, Don (November 1985). Making Ghostbusters, p. 86 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "In the first Dan Aykroyd script, the Greenville Guest House proprietor balked at a mere $500 fee."

↑ Shay, Don (November 1985). Making Ghostbusters, p. 102 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "In Dan Aykroyd's first script, the spectral storage facility was not at the firehouse itself, but rather in a deserted Sunoco gas station in northern New Jersey, taken over by the Ghostbusters and surreptitiously converted into a holding cell for wayward spirits."

↑ Shay, Don (November 1985). Making Ghostbusters, p. 125 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "In Dan Aykroyd's original script, the root of New York's widespread psychic disturbances lay in the fact that a 'Zuul' -- a generic term for the other-dimensional creature which would later evolve into the Terror Dogs -- had somehow strayed out of its rightful time and place and was being held captive by the Ghostbusters' employer, himself a transdimensional being."

↑ Shay, Don (November 1985). Making Ghostbusters, p. 125 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "Unfortunately, the Zuul happened to be a favored pet of the all-powerful Gozer -- absolute ruler of the sixth dimension -- who, it seemed, would stop at nothing to recover it. When this concept was superseded in subsequent drafts, Zuul became a given name for the female Terror Dog, which -- along with her like companion Vinz Clortho -- is seeking refuge from the Gozer in New York."

↑ Shay, Don (November 1985). Making Ghostbusters, p. 138 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "A large billboard -- rendered in matte painting form by Matthew Yuricich -- appears on one of the buildings adjacent to the firehall. Featured on it is a representation of the Stay-Puft marshmallow man and the words "Stay-Puft Marshmallows -- Stays Puft, Even When Toasted -- an advertising slogan lifted from Dan Aykroyd's original script."

↑ Shay, Don (November 1985). Making Ghostbusters, p. 146 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "One of the many supernatural manifestations encountered in Dan Aykroyd's first script was a skeletal biker who has been terrorizing the residents of a small upstate town.'"

↑ Shay, Don (November 1985). Making Ghostbusters, p. 146 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Harold Ramis says: "Often, in early drafts of a script, you have one scene with good dialogue, another scene with a great visual impact, and yet another scene that makes a really expositional point. But what makes a really dense comedy is when you can take the good dialogue and the physical business and the raw exposition for all these different scenes and load them into one strong scene with a definite reason for being. That's what happened with the skeletal biker. It was a wonderful concept, but it was too far removed from the main story. With the skeletal cab driver, we were able to save the visual effect from that original scene and put it in a place where it made better sense.'"

↑ Shay, Don (November 1985). Making Ghostbusters, p. 152 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "In Dan Aykroyd's original script, Shandor was the name of the Ghostbusters' interdimensional employer - a decided eccentric whose walls were lined with mounted trophy heads taken from such challenging big game as bats, rats and lobsters. Though Shandor was invariably to be found sequestered in his darkened office, perched on a swivel armchair and covered entirely by a near-opaque mosquito bonnet, no one seemed to suspect that there might be anything inherently out of the ordinary about him."

↑ Shay, Don (November 1985). Making Ghostbusters, p. 165 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph says: "A sinkhole of much grander scale was included in the original Dan Aykroyd script, when the accidental release of the Ghostbusters' incarcerated spirits triggers a twenty-five acre sinkhole around their gas station storage facility. The sinkhole, in turn, disrupts a long inactive fault line which somehow transforms most of northern New Jersey into a blazing inferno."

↑ Shay, Don (November 1985). Making Ghostbusters, p. 18 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "In the first Aykroyd-Ramis collaboration, the graffiti read: 'Venkman sucks cock in Hell!' -- an amusing reference to one of the shocker lines from The Exorcist. An occasional R-rated expletive -- strictly for humorous effect -- was also to be found in the early Ghostbusters drafts. In the end, however, Ivan Reitman opted to take the high road with regard to language and taste."

↑ 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."

↑ 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."

↑ 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."

↑ Shay, Don (November 1985). Making Ghostbusters, p. 22. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "Though present -- in somewhat differing form -- in all three of the early Aykroyd-Ramis collaborations, Venkman's appearance before a university funding committee was ultimately scratched in favor of the ESP testing sequence. In the July and August drafts, the opening segment with the screaming librarian cut directly to her apparent point of view -- in actuality a ceremonial demon mask being used by Venkman as a visual aid..."

↑ 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."

↑ Shay, Don (November 1985). Making Ghostbusters, p. 126. New York Zoetrope, New York NY USA, ISBN 0918432685.

↑ 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..."

↑ 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."

↑ 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."

↑ 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."

↑ 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 worshipper, 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."

↑ Ivan Reitman, Joe Medjuck, Ivan Reitman says: "We uh we all went up to um, where was it?"/Joe Medjuck says: "Martha's Vineyard."/Ivan Reitman says: "Martha's Vineyard! The story of the making of this movie actually uh has... it all happened very quickly. Danny Aykroyd wrote a 40 page treatment. That happened over years and years which I was fortunate to get sent to me and uh... I think he originally wrote it for he and..."/Joe Medjuck says: "John Belushi."/Ivan Reitman says: "That's right, he and Belushi and unfortunately John Belushi passed away before they could make that one. When I read it, it took place in the future with tons of..." Harold Ramis (2005). Ghostbusters - Commentary (2005) (DVD ts. 06:21-06:55). Columbia TriStar Home Video.Joe Medjuck says: "Martha's Vineyard."/Joe Medjuck says: "John Belushi."/

↑ Ivan Reitman says: "When I read the very first sort of treatment it took place in the future. There were many groups of Ghostbusters, the Marshmallow Man came out on page 20 and was one of 50 large scale monsters. Frankly, if I was going t make that particular script, it would have cost $300 million in 1984 and...but there was this one fantastically brilliant idea which there was a group of men who much like firefighters who could catch ghosts and I remember sitting down at a deli with uh Danny and said "Look this is a great idea but we should work on it some more and why don't you get Harold Ramis involved because he outta be a Ghostbuster as well. He's great , he's got just the right sort of brilliance to him and let's bring Billy into it" and he went with it and about a month later we were making this picture. " Ivan Reitman (2005). Ghostbusters - Commentary (2005) (DVD ts. 12:43-13:37). Columbia TriStar Home Video.

↑ Ivan Reitman says: "I went into Frank Price's, who was the head of Columbia Pictures, office and uh I said "Okay, we're going to do this movie, it's called Ghostbusters. This is sorta what the story is about..." because we of course didn't have a script at the time, and um he said uh "What will it cost?" and I said "$30 million." It was just a number off the top of my head because that was more money, three times as much I spent on my last movie and he uh he said "Fine, have it out by June." and that was exactly 12 months from that moment. We had no script, no special effects team but we had three willing actors. " Ivan Reitman (2005). Ghostbusters - Commentary (2005) (DVD ts. 13:44-14:21). Columbia TriStar Home Video.

↑ Harold Ramis says: "I should probably point out also in Dan's original script, there was no development of the Ghostbusters as parapsychologists working in the university, starting up the company... all this stuff. Ivan and I both had the idea we wanted to see how the Ghostbusters got to be Ghostbusters. " Harold Ramis (2005). Ghostbusters - Commentary (2005) (DVD ts. 15:27-15:43). Columbia TriStar Home Video.

↑ Ivan Reitman says: "Yeah, I always thought the movie should be a going into business story. Really smart guys that go into business. Just a very unusual business. I like the idea of them going to a bank, getting a place, dealing with a realtor, fixing the place up... I thought these were all things an audience could relate to. " Ivan Reitman (2005). Ghostbusters - Commentary (2005) (DVD ts. 15:43-15:59). Columbia TriStar Home Video.

↑ Ivan Reitman says: "I remember because of the amazing schedule we were under which was that we started writing in May or June of '83 then the movie the movie was going to be out in June of '84 and that I decided arbitrarily to do three days of shooting without the main cast in October when we actually did principal photography in November. " Ivan Reitman (2005). Ghostbusters - Commentary (2005) (DVD ts. 54:07-54:31). Columbia TriStar Home Video.

↑ Shay, Don (November 1985). Making Ghostbusters, p. 12. New York Zoetrope, New York NY USA, ISBN 0918432685. Ivan Reitman says: "The whole Keymaster-Gatekeeper idea came very late, and we struggled with it all the way."

↑ Shay, Don (November 1985). Making Ghostbusters, p. 18 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "During principal photography, it was decided that the flying books concept was too obvious an effect. At Dan Aykroyd's suggestion, several volumes were instead made to float mysteriously across the aisles, exchanging places while the librarian's back is turned."

↑ Shay, Don (November 1985). Making Ghostbusters, p. 47 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Michael Gross says: "After the film was out and doing well -- just to keep the phenomenon going -- Ivan came up with the idea of taking a 'junk buy' cross-country on late-night TV and running the commercial just as it appeared in the film, only with the superimposed phone number changed to an 800 number. Then people would call it and get an answering machine with Danny's and Bill's voice saying: 'Hi, we're the Ghostbusters. We're not in right now -- we're out catching ghosts...' Well, they did that, and they got a thousand calls per hour, 24-hours-a-day for six weeks."

↑ Ivan Reitman says: "I knew we had a hit actually when... the second weekend of release when I was walking through Manhattan there were sort of... kiosks at every corner with guys selling illegal black market T-shirts with sayings from the movie and the logo on it. " Ivan Reitman (2005). Ghostbusters - Commentary (2005) (DVD ts. 08:15-08:30). Columbia TriStar Home Video.

↑ Shay, Don (November 1985). Making Ghostbusters, p. 47 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Ivan Reitman says: "At one point, we planned to do a second commercial for the film -- one that we could work into the montage after they've become famous. I was going to do it as an elaborate MTV music video, with the guys singing the 'Ghostbusters' song -- which we later could have actually played on MTV. Unfortunately, we didn't get the song we liked until late in postproduction, and by that time it was too late to go back and do it."

↑ Shay, Don (November 1985). Making Ghostbusters, p. 49 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Michael Gross says: "The Stay-Puft marshmallow man appears several times in the film, because we wanted to build a continuity of his presence. In fact, at one point, we considered either ending or beginning the Ghostbusters commercial with a Stay-Puft spot -- complete with a little stop motion countertop like the Pillsbury doughboy. We discarded that idea, though, as being a bit of overkill."

↑ 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."

↑ Shay, Don (November 1985). Making Ghostbusters, p. 81 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "Joe Day applies 'ectoslime' to Bill Murray. In reality, the gooey substance was derived from methylcellulose ether -- a powdered thickening agent used in pharmaceuticals and food products."

↑ Shay, Don (November 1985). Making Ghostbusters, p. 104 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Harold Ramis says: "We were delighted with the notion that this script could be so 'out there,' and yet still have a scientific and parapsychological plausibility. From a physics point of view, Dan was always talking about things like 'holes in the reality envelope.' Well, I didn't know what that would mean to an audience, so I came up with this 'Mr. Wizard' kind of analogy -- describing the universe as an expanding, four-dimensional balloon. And as I was talking, I'd be blowing up this balloon. Then I'd explain, 'If something were to penetrate the envelope of our reality...' -- and the balloon would pop. That then led to the 'Twinkie' analogy. The whole thing made sense in terms of the plot but it was just much too long, so only the Twinkie survived."

↑ Shay, Don (November 1985). Making Ghostbusters, p. 112 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Michael Gross says: "It was always the intention to have only two, but when Thom Enriquez storyboarded the sequence, he showed the movement of one of the arms by drawing it in two positions, with cartoon-style movement lines in between. This drawing was misunderstood by the guys in the 'monster shop,' so they built three -- and since they had, we used them. When it came time to shoot the scene, Ivan decided to have the third arm come right up between Sigourney's legs. It really made the sequence much more terrifying and threatening. Originally, each arm was different. One was a human arm, one had a hook on the end of it and one was a green, frog-like sucker arm. Ivan didn't like the sucker arm -- he thought it looked too cartoonish -- so we ended up with two human arms and the one with the hook."

↑ Shay, Don (November 1985). Making Ghostbusters, p. 165 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Ivan Reitman says: "There was a lot of debate over whether or not the sinkhole effect was worth doing. It was, after all, a very expensive stunt - about $250,000. The studio didn't want me to do it, and my associate producers both felt it was something we could give up. But I thought it was really important because up to then, nothing really bad had happened to these guys. They'd had their hair tousled and blown around, but there was no real sense of the threat. It seemed to me that prior to the final battle we had to demonstrate - immediately and simply - just what they were going up against. The sinkhole effect showed how though and violent things would get. I was convinced it was a great sequence, so I stuck with it."

↑ Harold Ramis says: "Here's a great switch from the real Central Park West to the back lot. This is all the back lot now. " Harold Ramis (2005). Ghostbusters - Commentary (2005) (DVD ts. 1:20:20-1:20:25). Columbia TriStar Home Video.

↑ Ivan Reitman says: "All these effects John De Cuir recreated the street and [first two floors] actually three so I could get wide enough for the shot and these are all on hydraulics underneath so we could redo it over and over and there's... " Ivan Reitman (2005). Ghostbusters - Commentary (2005) (DVD ts. 1:20:26-1:20:45). Columbia TriStar Home Video.

↑ Harold Ramis says: "Then in New York, the police car slid into the street. They took a police car and just literally cut the front half off the car and laid it in the hole in the street, the fake hole in the street. " Harold Ramis (2005). Ghostbusters - Commentary (2005) (DVD ts. 1:20:45-1:20:55). Columbia TriStar Home Video.

↑ Indie Wire "Bill Murray Says He's Ready to Do Another 'Ghostbusters': 'It Paid For My Son’s College'" 5/15/19 Bill Murray says: "They came to set one day. All of a sudden, there were like 25 guys from Coca-Cola hanging around in suits. You can smell people who don’t belong on sets, right? You can just smell 'em. You can feel that there's weird energies. You can almost smell the enemy because the enemy is distraction. I just like to tell this story because it's funny to me. So they came, and we're in the middle of a scene. I immediately stopped what we were doing, and just sort of walked over and started talking to them. And I kept talking to them. It went on and on. It wasn't two minutes, it wasn't 10 minutes, it wasn't half an hour. When we passed half an hour and got into the 40 minute range, they started going, 'There's 250 people watching us talk to this mother****er. Maybe we should go.' And they left, and never came back. "

↑ Ivan Reitman says: "Amazingly enough, the budget as I said earlier was $30 million and I think we finally made the film for $31 million. We went slightly over budget. " Ivan Reitman (2005). Ghostbusters - Commentary (2005) (DVD ts. 50:31-50:39). Columbia TriStar Home Video.

↑ Shay, Don (November 1985). Making Ghostbusters, p. 35 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "Although permission was granted for the production unit to shoot on the Columbia University campus, it was with the understanding that the school not be identified as such in the film. Neither Weaver Hall nor a 'Paranormal Studies Laboratory' actually exists at Columbia."

↑ Joe Medjuck says: "There's no Weaver Hall but this is Columbia University. " Joe Medjuck (2005). Ghostbusters - Commentary (2005) (DVD ts. 02:40-02:44). Columbia TriStar Home Video.

↑ Ivan Reitman says: "Even this was at Columbia, wasn't it? " Ivan Reitman (2005). Ghostbusters - Commentary (2005) (DVD ts. 02:45-02:47). Columbia TriStar Home Video.

↑ Joe Medjuck says: "And t his was actually a room at Columbia University, we should have--we were planning to shoot this on the set but were moving so fast in New York that we went to our cover sets that John De Cuir aged it but otherwise it's in the basement somewhere in Columbia. " Joe Medjuck (2005). Ghostbusters - Commentary (2005) (DVD ts. 03:39-03:54). Columbia TriStar Home Video.

↑ Joe Medjuck says: "And this was based on a real experiment, wasn't it, Harold? " Joe Medjuck (2005). Ghostbusters - Commentary (2005) (DVD ts. 02:57-03:00). Columbia TriStar Home Video.

↑ Harold Ramis says: "We based it on the Milgram Experiment which was to psych--subjects in a psychological study were instructed to give electrical shocks to people trying to learn a list of words but what they were really testing were the peoples' willingness to give electrical shocks to other people. " Harold Ramis (2005). Ghostbusters - Commentary (2005) (DVD ts. 03:01-03:17). Columbia TriStar Home Video.

↑ Shay, Don (November 1985). Making Ghostbusters, p. 20 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Harold Ramis says: "Our original concept for the scene was to have the ESP test and Venkman reinforcing the girl by telling her she's getting them all right, even when she's not. Then I came up with the added dimension of having him give shocks to the poor nerd -- an idea that was based on a real experiment, were people had to give electric shocks to test people; but the people giving the shocks didn't know that they were the test subjects. The idea was to see how far people would go in giving shocks to other people. I thought that was a very interesting psychological problem, and I loved the notion of the hero of the film giving electric shocks. It has an interesting moral edge for people, and it just seemed like a delightful setup."

↑ Ivan Reitman says: "There was a lot of conversation I remember about when the spitting of the gum moment should occur. Should it be on the first? The second? The third? We used it as a climax moment. " Ivan Reitman (2005). Ghostbusters - Commentary (2005) (DVD ts. 04:47-04:58). Columbia TriStar Home Video.

↑ Ivan Reitman says: "Now we actually shot this in New York at the Public Library. But unfortunately there was scaffolding everywhere because they were cleaning the building... " Ivan Reitman (2005). Ghostbusters - Commentary (2005) (DVD ts. 00:25-00:41). Columbia TriStar Home Video.

↑ Joe Medjuck says: "And this handsome young man is me 15 years ago crossing the screen. " Joe Medjuck (2005). Ghostbusters - Commentary (2005) (DVD ts. 00:56-00:59). Columbia TriStar Home Video.

↑ Ivan Reitman says: "And through the magic of cinema, as she [Alice] walks down the stairs we are now shooting in the Los Angeles Public Library. " Ivan Reitman (2005). Ghostbusters - Commentary (2005) (DVD ts. 00:59-01:07). 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. " Ivan Reitman (2005). Ghostbusters - Commentary (2005) (DVD ts. 10:24-11:05). Columbia TriStar Home Video.

↑ Joe Medjuck says: "No, this was the first day of principal photography. " Joe Medjuck (2005). Ghostbusters - Commentary (2005) (DVD ts. 12:25-12:27). Columbia TriStar Home Video.

↑ Shay, Don (November 1985). Making Ghostbusters, p. 37. New York Zoetrope, New York NY USA, ISBN 0918432685.

↑ Joe Medjuck says: "I remember because we finished in the library at 10 am then we went outside, took a break, went outside of the library, and shot this same scene at the end of the day. " Joe Medjuck (2005). Ghostbusters - Commentary (2005) (DVD ts. 15:17-15:27). Columbia TriStar Home Video.

↑ Shay, Don (November 1985). Making Ghostbusters, p. 39. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "Production designer John DeCuir examines a foam core mockup of the firehall -- an existing structure to which he would be adding the enclosed office area at the rear as well as other modifications and refinements. Such mockups were invariably useful in establishing a three-dimensional feel for the sets -- before costly construction or renovation was initiated -- and often proved useful to Ivan Reitman for blocking action and determining camera angles."

↑ Shay, Don (November 1985). Making Ghostbusters, p. 39. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "Once these initial scenes were shot, DeCuir and his staff moved in and made the necessary modifications for later sequences in the film."

↑ Joe Medjuck says: "More creative geography. This is an actual old Firehouse in Los Angeles but the interior is an actual in-use Firehouse in New York. " Joe Medjuck (2005). Ghostbusters - Commentary (2005) (DVD ts. 16:00-16:10). Columbia TriStar Home Video.

↑ Harold Ramis says: "Coincidentally built in the same year, 1912. " Harold Ramis (2005). Ghostbusters - Commentary (2005) (DVD ts. 16:10-16:13). Columbia TriStar Home Video.

↑ Ivan Reitman says: "And it's true, as soon as we did see this pole, Danny said we gotta use it. It wasn't just a moment in the movie. " Ivan Reitman (2005). Ghostbusters - Commentary (2005) (DVD ts. 16:17-16:24). Columbia TriStar Home Video.

↑ Harold Ramis says: "This really was fun. This was also back in LA. We got to slide down the pole. " Harold Ramis (2005). Ghostbusters - Commentary (2005) (DVD ts. 28:32-28:36). Columbia TriStar Home Video.

↑ Joe Medjuck says: "We used that same um machinery we saw on Sigourney and as the camera moves across Rick ducked out and we put the head of one of those rubber dummies of the Terror Dog in so it would appear like that's what was inside of him. " Joe Medjuck (2005). Ghostbusters - Commentary (2005) (DVD ts. 1:01:24-1:01:44). Columbia TriStar Home Video.

↑ Shay, Don (November 1985). Making Ghostbusters, p. 41 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Michael Gross says: "Plans to use the 1 Fifth Avenue building progressed to the point of designing preliminary rooftop sets for it, but were dropped when the co-op committee for the building voted against its use in the film."

↑ Joe Medjuck says: "This was added optically, this gargoyle. " Joe Medjuck (2005). Ghostbusters - Commentary (2005) (DVD ts. 16:52-16:54). Columbia TriStar Home Video.

↑ Ivan Reitman says: "Yeah, this was in October when... " Ivan Reitman (2005). Ghostbusters - Commentary (2005) (DVD ts. 54:01-54:02). Columbia TriStar Home Video.

↑ Joe Medjuck says: "This was when we went a week early. Shot for five days. Most of this. " Joe Medjuck (2005). Ghostbusters - Commentary (2005) (DVD ts. 54:02-54:06). Columbia TriStar Home Video.

↑ Wallace, Daniel (2015). Ghostbusters The Ultimate Visual History, p. 60. Insight Editions, San Rafael CA USA, ISBN 9781608875108. Line reads: "The illumination peeking through the doorframe was Reitman's nod to a similar effect in Spielberg's Close Encounters of the Third Kind."

↑ Ivan Reitman says: "And this was the street we created in the back lot of Columbia... Columbia Studios. " Ivan Reitman (2005). Ghostbusters - Commentary (2005) (DVD ts. 55:05-55:14). Columbia TriStar Home Video.

↑ Harold Ramis says: "So this is 65th and Central Park West so what happens there's the East-West crossing through the park on 65th and 66th. Columbus Circle is just off the street so when we were shooting this scene for three days, we stopped traffic here which shut down Columbus, 8th, Broadway, 7th, and 59th Street. Shot the East-West pass through the park, traffic started backing up to Times Square then Herald Square, Eastside, all the way to the river and they told us at one point we shut down 60% of Manhattan. " Harold Ramis (2005). Ghostbusters - Commentary (2005) (DVD ts. 1:18:44-1:19:19). Columbia TriStar Home Video.

↑ Harold Ramis says: "Ah right, so we're taking a break one day, Danny and I are standing on 65th and Central Park West, Danny sees Isaac Asimov, who lives in the neighborhood. Danny was so excited, he was one of the great science fiction writers of our age, 'Mr. Asimov, Dan Aykroyd, we're shooting the Ghostbusters movie'... he says 'Are you the ones responsible for this?'... and he walks away. He couldn't get home. " Harold Ramis (2005). Ghostbusters - Commentary (2005) (DVD ts. 1:19:24-1:19:50). Columbia TriStar Home Video.

↑ Ivan Reitman says: "I remember there was a guy trying to get through, a really obnoxious guy in a car in the area and he started giving the policemen who were working on the film some real grief so they just pulled him out of the car and arrested him. " Ivan Reitman (2005). Ghostbusters - Commentary (2005) (DVD ts. 1:20:05-1:20:19). Columbia TriStar Home Video.

↑ Shay, Don (November 1985). Making Ghostbusters, p. 67. New York Zoetrope, New York NY USA, ISBN 0918432685.

↑ Ivan Reitman says: "I used this moment in "Dave" when he exits as the supposed President of the United States. " Ivan Reitman (2005). Ghostbusters - Commentary (2005) (DVD ts. 29:52-29:59). Columbia TriStar Home Video.

↑ Ivan Reitman says: "One of my least favorite special effects. " Ivan Reitman (2005). Ghostbusters - Commentary (2005) (DVD ts. 35:05-35:10). Columbia TriStar Home Video.

↑ Ivan Reitman says: "We ended up shooting I guess in the hotel for three or four days on this sequence. " Ivan Reitman (2005). Ghostbusters - Commentary (2005) (DVD ts. 35:32-35:37). Columbia TriStar Home Video.

↑ 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."

↑ Joe Medjuck says: "The guy chasing here is not an actor, he was really chasing...The guy chasing was really someone from Rockefeller Center because it was illegal to shoot there. " Joe Medjuck (2005). Ghostbusters - Commentary (2005) (DVD ts. 40:02-40:14). Columbia TriStar Home Video.

↑ Shay, Don (November 1985). Making Ghostbusters, p. 96 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "Venkman's interception of Dana outside the Metropolitan Opera House -- ostensibly to give her a progress report on her case -- was actually the first scene shot between Bill Murray and Sigourney Weaver."

↑ Shay, Don (November 1985). Making Ghostbusters, p. 96 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Joe Medjuck says: "For the long shots, we had to loop the dialogue because the Lincoln Center fountain in the background created so much noise. For the closeups -- when the fountain was out of frame -- we were able to have the water shut off."

↑ Shay, Don (November 1985). Making Ghostbusters, p. 123 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Michael Gross says: "The original idea was for Louis to be trapped by the Terror Dog in a dark corner of the park. But Ivan was scouting locations one day, emulating Louis' moves from the time he runs out of the apartment building -- 'Louis runs here, then he runs here, and then he runs ... there!' And there was the Tavern on the Green -- a logical distance for Louis to have run, and a logical place to seek refuge."

↑ Joe Medjuck says: "This is uh 6th Avenue I think. This is the middle of the night near Central Park I remember. " Joe Medjuck (2005). Ghostbusters - Commentary (2005) (DVD ts. 59:15-59:17). Columbia TriStar Home Video.

↑ Shay, Don (November 1985). Making Ghostbusters, p. 151 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "The incarceration scene was shot lon location at an actual New York prison facility, now out of commission and essentially abandoned."

↑ Joe Medjuck says: "Yes, this was a real jail, deserted I believe. " Joe Medjuck (2005). Ghostbusters - Commentary (2005) (DVD ts. 1:11:01-1:11:05). Columbia TriStar Home Video.

↑ Joe Medjuck says: "Danny claimed it was haunted and the film got scratched, we had to cut around it. " Joe Medjuck (2005). Ghostbusters - Commentary (2005) (DVD ts. 1:11:13-1:11:17). Columbia TriStar Home Video.

↑ Harold Ramis says: "This is a jail in Lower Manhattan. " Harold Ramis (2005). Ghostbusters - Commentary (2005) (DVD ts. 1:10:44-1:10:46). Columbia TriStar Home Video.

↑ Harold Ramis says: "No, it was in the middle of 14th Street or something. " Harold Ramis (2005). Ghostbusters - Commentary (2005) (DVD ts. 1:11:07-1:11:12). Columbia TriStar Home Video.

↑ Harold Ramis says: "Ivan, you fired an extra on this day, do you remember that? " Harold Ramis (2005). Ghostbusters - Commentary (2005) (DVD ts. 1:13:12-1:11:15). Columbia TriStar Home Video.

↑ Ivan Reitman says: "Some guy mouthing off... 'You, out and never come back'. " Ivan Reitman (2005). Ghostbusters - Commentary (2005) (DVD ts. 1:13:16-1:13:19). Columbia TriStar Home Video.

↑ Harold Ramis says: "And he thought you were kidding and you said 'No, get out'. " Harold Ramis (2005). Ghostbusters - Commentary (2005) (DVD ts. 1:13:20-1:13:23). Columbia TriStar Home Video.

↑ Joe Medjuck says: "This is actually the City Hall yes. " Joe Medjuck (2005). Ghostbusters - Commentary (2005) (DVD ts. 1:14:28-1:14:32). Columbia TriStar Home Video.

↑ Ivan Reitman says: "We were given amazing access actually by the filming group in New York. " Ivan Reitman (2005). Ghostbusters - Commentary (2005) (DVD ts. 1:14:37-1:14:44). Columbia TriStar Home Video.

↑ 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 garciously made available as a stand-in for the actual mayor's office cited in the script."

↑ Joe Medjuck says: "This was I believe Elizabeth Holtzman's office if my memory serves me. It's a twin to it on the other side of the building. " Joe Medjuck (2005). Ghostbusters - Commentary (2005) (DVD ts. 1:14:54-1:15:02). Columbia TriStar Home Video.

↑ Shay, Don (November 1985). Making Ghostbusters, p. 156 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Joe Medjuck says: "There were several variations of that scene on the set. During one take, Danny called Peck 'wee wienie winkle' and Bill Murray broke up completely - which is something he almost never does on camera."

↑ Shay, Don (November 1985). Making Ghostbusters, p. 165. New York Zoetrope, New York NY USA, ISBN 0918432685.

↑ Joe Medjuck says: "This is one or two stairs then everything up is a matte painting. " Joe Medjuck (2005). Ghostbusters - Commentary (2005) (DVD ts. 1:22:02-1:22:07). Columbia TriStar Home Video.

↑ Ivan Reitman says: "I think this was shot at the Biltmore. " Ivan Reitman (2005). Ghostbusters - Commentary (2005) (DVD ts. 1:22:08-1:22:16). Columbia TriStar Home Video.

↑ Joe Medjuck says: "Let me say about the rooftop. We were thinking about where, what would be the center of the disturbance. And different kinds of buildings and places all over the city and we...I don't know if this this is how it occurred to everyone but I remembered a rooftop in St. Louis which was a replica of a temple and we started looking at the rooftops of New York and someone produced a coffee table book called 'Rooftops of New York' and we saw all these interesting temples on rooftops of buildings and all these strange Gothic structures and they went with that as a design concept." Joe Medjuck (2005). Ghostbusters - Commentary (2005) (DVD ts. 24:04-24:38). Columbia TriStar Home Video.

↑ Ivan Reitman says: "The whole rooftop sequence took us a few weeks to film. It was all on this stage. The Ghostbusters are actually in there in that shot in the hole, closer you can see the guys walking around. " Ivan Reitman (2005). Ghostbusters - Commentary (2005) (DVD ts. 1:23:34-1:23:49). Columbia TriStar Home Video.

↑ Wallace, Daniel (2015). Ghostbusters The Ultimate Visual History, p. 59. Insight Editions, San Rafael CA USA, ISBN 9781608875108. Line reads: "Stephen Dane's concept sketch for a metal detector-style ghost-detecting device."

↑ Ivan Reitman says: "This piece of equipment, only Harold got to learn how to use it. He had sort of had a secret way to use the three buttons that were on it that made the little wings rise and fall. " Ivan Reitman (2005). Ghostbusters - Commentary (2005) (DVD ts. 08:31-08:40). Columbia TriStar Home Video.

↑ Joe Medjuck says: "Danny Aykroyd is actually driving the car in most of these shots. We shot it all in one day after we been up late the night before. We went off with just the car... " Joe Medjuck (2005). Ghostbusters - Commentary (2005) (DVD ts. 39:54-40:01). Columbia TriStar Home Video.

↑ Joe Medjuck says: "Yeah and Dan, we used that as part of the pre-publicity for the movie. " Joe Medjuck (2005). Ghostbusters - Commentary (2005) (DVD ts. 40:50-41:03). Columbia TriStar Home Video.

↑ Joe Medjuck says: "This is when the car died at the end. " Joe Medjuck (2005). Ghostbusters - Commentary (2005) (DVD ts. 1:03:21-1:03:23). Columbia TriStar Home Video.

↑ Wallace, Daniel (2015). Ghostbusters The Ultimate Visual History, p. 42. Insight Editions, San Rafael CA USA, ISBN 9781608875108. Richard Beggs says: "It was a leopard snarl that I had done a number of things to. I looped it, cut it in quarter-inch tape, and played it backward. Usually I am very loath to play things backward, because they have a very telltale characteristic and I think it's sort of a cop out. I played it backward and it did that err-reearr-err-reearr- the exact opposite of an animal going arghh. It lost some of its organic sound and it became this 'mechanical animal' claxon."

↑ Wallace, Daniel (2015). Ghostbusters The Ultimate Visual History, p. 56-57. Insight Editions, San Rafael CA USA, ISBN 9781608875108. Richard Beggs says: "There was a liquid part to the sound. I wanted something that sounded splashy but electronic, like a plasma flow. I'd gotten the base sound of it down, but it was too uniform and not very dynamic. So I did a feedback loop in the harmonizer and got this sort of rhythmic, pulsing thing between it and the Moog. I made the sound of the neutrona wand depend on the violence of the shot or the impact. Some were a little whimpery, like what happens when they start up, and at low, medium, and high intensity. I created this library of raw stuff in six or seven different families of sounds, then I would choose one for Bill Murray, one for Dan, and so on, and that would be theirs."

↑ Wallace, Daniel (2015). Ghostbusters The Ultimate Visual History, p. 57. Insight Editions, San Rafael CA USA, ISBN 9781608875108. Line reads: "Fabric strips soaked in smoke-generating liquid produced the effect during filming."

↑ Wallace, Daniel (2015). Ghostbusters The Ultimate Visual History, p. 59. Insight Editions, San Rafael CA USA, ISBN 9781608875108. Line reads: "An early ecto-goggle concept imagines the device could be worn as an eyepatch-like monocle."

↑ Wallace, Daniel (2015). Ghostbusters The Ultimate Visual History, p. 58. Insight Editions, San Rafael CA USA, ISBN 9781608875108. Line reads: "The ecto-goggles in the film were modified versions of the U.S. Army's AN/PVS-5a night-vision goggles, which were introduced in 1972 and still in widespread use at the time the movie was made."

↑ Ivan Reitman says: "Danny insisted on the spectacular haircut of his, as well. " Ivan Reitman (2005). Ghostbusters - Commentary (2005) (DVD ts. 06:08-06:12). Columbia TriStar Home Video.

↑ Harold Ramis says: "Nah. The French hair... the French-Moroccan hair dresser you found. Peggy Semtob!" Harold Ramis (2005). Ghostbusters - Commentary (2005) (DVD ts. 07:08-07:15). Columbia TriStar Home Video.

↑ Harold Ramis says: "Egon Spengler. Egon came from Egon Donsbach. I went to school with a Hungarian refuge and Spengler was from Oswald Spengler. " Harold Ramis (2005). Ghostbusters - Commentary (2005) (DVD ts. 21:46-21:56). Columbia TriStar Home Video.

↑ Wallace, Daniel (2015). Ghostbusters The Ultimate Visual History, p. 27-28. Insight Editions, San Rafael CA USA, ISBN 9781608875108. Suzy Benzinger says: "Harold Ramis loved that gray suit he wore, which I got at a thrift store on St. ark's Place. The first time I saw Harold, I thought, 'He really doesn't look like a professor. He doesn't have that scientist look.' So I took him to an eyeglass store on Seventh Avenue. I said, 'I really want to change your eyeglasses, is that OK?' and I knew just the glasses [he should wear]. He put them on, and I think he wore those forever."

↑ Shay, Don (November 1985). Making Ghostbusters, p. 9. New York Zoetrope, New York NY USA, ISBN 0918432685. Harold Ramis says: "Stantz and Venkman and Ramsey -- the character we changed to Winston -- were all essentially the same. That was fairly representative of Dan's writing at the time. He was very much concerned with story and structure and effects, but he would sort of stay on the surface of his characters."

↑ Shay, Don (November 1985). Making Ghostbusters, p. 27 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "Venkman's line was inspired by a bizarre, but thwarted, experiment by John Lilly -- a prominent researcher in dolphin communication -- whi seriously proposed drilling a hole in his head to test some higher brain function. Harold Ramis, who wrote the line, piggy-backed on it during the take by responded: "That would have worked if you hadn't stopped me.""

↑ Shay, Don (November 1985). Making Ghostbusters, p. 99 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "Until the final shooting script, Winston had been seen in the script as a security man for the company. When it became apparent that the Ghostbusters had no real need for a security man, he became instead a full-fledged -- if not altogether convinced -- Ghostbuster."

↑ Shay, Don (November 1985). Making Ghostbusters, p. 99 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Michael Gross says: "I think the original concept for Winston's character was younger and hipper. At one point, we were talking with Gregory