|
Ghost Busters
|
| 00:00:03 |
Original Production Notes |
| 00:00:22 |
The New York Public Library at |
| 00:00:25 |
was the location |
| 00:00:28 |
Originally conceived |
| 00:00:31 |
Director Ivan Reitman |
| 00:00:34 |
chose instead this sweeping |
| 00:00:38 |
This interior is the Main Reading Room |
| 00:00:41 |
To film here |
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The huge room had to be lit, |
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and then everything cleared away... |
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all within the hours |
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and the Library's 10:00 AM opening. |
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We're not in New York anymore. |
| 00:01:03 |
While the New York Library exterior |
| 00:01:06 |
created a perfect Gothic atmosphere, |
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For "aesthetic and economic reasons," |
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at the main branch |
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The final shooting script |
| 00:01:17 |
to suddenly fly off the shelf |
| 00:01:20 |
But at the last minute, |
| 00:01:23 |
this more subtle and eerie approach... |
| 00:01:26 |
by visual effects creator |
| 00:01:41 |
This next bit of ghostly mischief... |
| 00:01:44 |
falls in the category of a physical |
| 00:01:47 |
Special effects supervisor Chuck Gaspar |
| 00:01:50 |
rigged with air hoses |
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The librarian had speaking lines |
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her lines were dropped and replaced |
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The original script called for a "stout, |
| 00:02:15 |
But Alice Drummond as a terrified, |
| 00:02:18 |
was a perfect casting decision. |
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The Ghostbusters logo was refined |
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the idea for the logo when he dreamed |
| 00:02:35 |
In a departure |
| 00:02:38 |
the production credits were |
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In the original script, this graffiti |
| 00:02:48 |
to Bill Murray's character, Venkman, |
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that "Ghostbusters" would benefit... |
| 00:02:54 |
from not being particularly raunchy. |
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"It has an edge to it," said Reitman, |
| 00:03:00 |
parents are comfortable taking |
| 00:03:04 |
Harold Ramis, Dan Aykroyd's co-writer, |
| 00:03:07 |
of Murray's character |
| 00:03:10 |
This idea was based |
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how far people would go |
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The scene firmly establishes Venkman |
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As was typical throughout the film, |
| 00:03:49 |
but with dialogue refinements |
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made either during rehearsal or |
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In almost no instance does the scripted |
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appear verbatim in the final film. |
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With a gifted comedy director at |
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the likelihood of strict adherence |
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Aykroyd's speech was filmed in New York |
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for the library books |
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It was changed in Los Angeles in favor |
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but it was left to the audience to |
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incidents that happened elsewhere |
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It worked. |
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Aykroyd was responsible for most |
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"PKE" is an unexplained acronym |
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one of many technical |
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employed throughout the movie. |
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Dan Aykroyd is a true believer |
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He's a member of The American Society |
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He's been intrigued with psychic |
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since he was a boy. |
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Dan Aykroyd's original line here |
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to a "multiple |
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In post production, Aykroyd looped the |
| 00:07:00 |
Several dialogue changes |
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the producers ran |
| 00:07:13 |
Murray's line was inspired |
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proposed by John Lilly, a researcher |
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who proposed drilling a hole in his head |
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The line..."That would have worked |
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was pure improvisation |
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Though written in such a way that it |
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this scene was shot in a caged area |
| 00:07:42 |
all part of the whirlwind shooting |
| 00:07:49 |
Much of Venkman's dialogue sounds so |
| 00:07:52 |
that many critics assumed he had |
| 00:07:55 |
In actuality, most of his lines |
| 00:07:58 |
Co-writer Ramis said, "I like |
| 00:08:01 |
Even if I don't get it exactly, it gives |
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On his way to the set on the morning |
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director Ivan Reitman came up with |
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and the new dialogue |
| 00:09:21 |
The scientists' first contact |
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was also a last-minute addition. |
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This scene did not appear |
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When Dan Aykroyd came to Ivan Reitman |
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Reitman suggested that Aykroyd |
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to create the final screenplay. |
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Ramis and Reitman had worked together |
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"National Lampoon's Animal House," |
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Actress Ruth Oliver was the library |
| 00:11:28 |
Her scenes were photographed |
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at Richard Edlund's |
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in Marina Del Rey, California. |
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The footage was then composited |
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The horrible ghost |
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An even more ferocious version |
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but it did appear in another film, |
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Columbia University gave the film crew |
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with the understanding that the school |
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Weaver Hall and the "Paranormal Studies |
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Though interiors could have been easily |
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a Columbia building |
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by production designer John DeCuir |
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If the film crew... costing $250,00 |
| 00:12:44 |
they could film in the lab rather than |
| 00:13:26 |
Harold Ramis said, "In our first draft, |
| 00:13:29 |
of a small New England college, |
| 00:13:32 |
But we realized there was something |
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so we began thinking maybe we should |
| 00:13:39 |
Prior to that, it had been set |
| 00:14:23 |
The one key person |
| 00:14:25 |
into the script as written |
| 00:14:27 |
"The whole script came together |
| 00:14:30 |
And during that period |
| 00:14:33 |
But it was trust. 'Ghostbusters' was |
| 00:14:37 |
without fighting like crazy, |
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Bill's really great, and on the set, |
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than any comic actor around." |
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The Irving Trust Bank |
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eventually became the fictional |
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with the sequence filmed |
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from the New York Public Library |
| 00:15:31 |
Inflation ran rampant in the film. |
| 00:15:33 |
In the first draft, |
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On the day this scene was shot, |
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The firehouse in New York... |
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and the firehouse in Los Angeles. |
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The ramshackle condition |
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is pretty much |
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They left it in this condition for |
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Once these initial scenes |
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the design team moved in |
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After the movie was finished, |
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became an artists' studio. |
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55 Central Park West... |
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The roofline you see |
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This particular "stone" Terror Dog |
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"Writing for women has not been |
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but with Sigourney's contribution, |
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really grew and strengthened." |
| 00:17:10 |
The fine for jaywalking in New York |
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In 1998 it was $50. |
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Sigourney Weaver's character, |
| 00:17:19 |
changed dramatically |
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Originally, she was to be an alien |
| 00:17:24 |
which transforms itself |
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The role of Louis Tulley was written |
| 00:17:43 |
When shooting started, |
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"Fortunately, Rick Moranis was, and he |
| 00:17:49 |
He came up with the idea of Louis being |
| 00:17:52 |
really started to evolve |
| 00:18:42 |
After the movie was released |
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the producers |
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with an 800 number |
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They got 1,000 calls per hour... |
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24 hours a day... |
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for six weeks. |
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The sprawling apartment house |
| 00:19:04 |
over two adjoining soundstages on |
| 00:19:07 |
They needed all the extra space... |
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for the physical effects crew |
| 00:19:22 |
Tiny cuts were made on the eggshells |
| 00:19:25 |
Each cut was filled with plaster, |
| 00:19:29 |
During the filming, air was |
| 00:19:32 |
causing the eggs to split along the |
| 00:19:36 |
The countertop was actually |
| 00:19:40 |
heated from below |
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Note the Stay-Puft marshmallow bag. |
| 00:19:56 |
Dana is about to make |
| 00:20:01 |
A complex optical composite |
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from elements generated primarily |
| 00:20:10 |
It's a preview of special effects |
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The producers had three different signs |
| 00:20:19 |
because the rights to the title... |
| 00:20:22 |
weren't resolved |
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The movie was almost called |
| 00:20:31 |
In all previous drafts... |
| 00:20:33 |
the basic vehicle from which |
| 00:20:36 |
was specified to be |
| 00:20:39 |
It was originally supposed |
| 00:20:42 |
By the time the film was shot, |
| 00:20:44 |
A 1959 model won the audition, |
| 00:20:53 |
"The firehouse in Los Angeles |
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All of the scenes that were supposed |
| 00:20:59 |
were actually filmed |
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The building itself happens to be |
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which is used a lot for filming. |
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We were running into the "Hill Street |
| 00:21:33 |
Though the script |
| 00:21:36 |
between Janine and the blissfully |
| 00:21:39 |
most of the budding relationship |
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"Once Sigourney Weaver expressed |
| 00:21:53 |
we took the character |
| 00:21:56 |
We had written her as a model, |
| 00:21:59 |
it would be much more interesting |
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She has such dignity. There is no way |
| 00:22:05 |
And we like the class difference |
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She clearly had better breeding |
| 00:22:52 |
"I met with Sigourney and Bill, and we |
| 00:22:55 |
The whole idea was |
| 00:22:57 |
for a romantic relationship, and yet |
| 00:23:00 |
with Bill and Sigourney |
| 00:23:02 |
as two people probably would |
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and those situations were real." |
| 00:23:08 |
"It gave Venkman an additional motive |
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not only is he out to make money, |
| 00:23:14 |
and prove himself to her." |
| 00:23:48 |
Bill Murray ad-libbed |
| 00:24:00 |
The false rooftop is a matte painting |
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Although the finished sequence... |
| 00:25:06 |
bears only a cursory resemblance |
| 00:25:09 |
certain elements were retained... |
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Sigourney Weaver suggested |
| 00:25:23 |
was both more amusing and more apropos |
| 00:25:26 |
than "used car salesman"... |
| 00:25:28 |
and so her line |
| 00:25:38 |
The apartment sets on the soundstage |
| 00:25:41 |
"John's entire crew |
| 00:25:44 |
We went into Dana's apartment set |
| 00:25:47 |
'We want this changed, |
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The prop people worked all through |
| 00:25:52 |
the entire set was redressed to our |
| 00:26:57 |
Some people have said |
| 00:27:00 |
for a struggling young cellist |
| 00:27:19 |
"Bill came up with the idea of this guy |
| 00:27:22 |
'I'm totally in love with you.' |
| 00:27:24 |
It was a really charming choice |
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the whole tone of the scene. |
| 00:27:33 |
And so, when Sigourney was able |
| 00:27:36 |
and say to Bill, 'You are so odd,' |
| 00:27:39 |
And she came up |
| 00:27:41 |
I loved it because it let |
| 00:27:44 |
and allowed them to say, 'Yeah, he is |
| 00:27:47 |
and Sigourney and Ivan did a great job |
| 00:28:06 |
Bill Murray had a line here... |
| 00:28:09 |
It was cut out during editing. |
| 00:28:22 |
Another casualty of the editing |
| 00:28:25 |
about a honeymooning couple on their |
| 00:28:28 |
A foul-smelling ghost pays a visit |
| 00:28:31 |
which prompts this telephone call from |
| 00:29:25 |
Dan Aykroyd's original idea |
| 00:29:29 |
was an all-black, |
| 00:29:31 |
But cinematographer Lazlo Kovacs |
| 00:29:34 |
that most of the Ectomobile scenes |
| 00:29:37 |
and a black ambulance |
| 00:29:40 |
It got painted white. |
| 00:29:53 |
The Sedgewich Hotel exterior |
| 00:29:56 |
are actually the Biltmore Hotel |
| 00:29:59 |
The producers originally wanted to film |
| 00:30:02 |
but the huge lobby |
| 00:30:05 |
allowed director Ivan Reitman to |
| 00:30:08 |
It was a perfect setting to reveal, |
| 00:30:11 |
the Ghostbusters in full regalia. |
| 00:31:20 |
Dan Aykroyd's fascination with |
| 00:31:23 |
from the first draft |
| 00:31:26 |
When he was trying to market |
| 00:31:29 |
Dan commissioned artist John Daveikis |
| 00:31:32 |
of his ghostbusting weapon concepts. |
| 00:31:34 |
These concepts remained essentially |
| 00:31:37 |
Prototypes of the gadgets |
| 00:31:40 |
out of balsa wood and cardboard |
| 00:31:42 |
with input from Ivan Reitman |
| 00:31:45 |
and then turned over to Chuck Gaspar |
| 00:31:50 |
"I knew that when |
| 00:31:53 |
with their nutrona wands, |
| 00:31:56 |
It's the first time |
| 00:31:59 |
and you get the sense |
| 00:32:02 |
the Ghostbusters |
| 00:32:04 |
Too often in movies |
| 00:32:07 |
using equipment they've never seen |
| 00:32:10 |
I thought it would be funnier... |
| 00:32:12 |
if the guys were really trigger-happy |
| 00:32:15 |
like rookie cops with loaded weapons." |
| 00:32:54 |
Artist Thom Enriquez was very involved |
| 00:32:58 |
Known by the public as "Slimer"... |
| 00:33:00 |
the name of this spook |
| 00:33:07 |
The room service cart |
| 00:33:11 |
driven from underneath by one |
| 00:33:15 |
Where it crashes into the wall, |
| 00:33:18 |
and the cart was merely |
| 00:33:22 |
In the script, Harold Ramis |
| 00:33:25 |
and is confronted by a beautiful woman |
| 00:33:28 |
That scene was never shot. |
| 00:33:38 |
During preproduction, three large-scale |
| 00:33:40 |
one for smiling, |
| 00:33:43 |
and one for use |
| 00:33:45 |
After the sculpting, the figures were |
| 00:33:49 |
with facial movements achieved |
| 00:33:52 |
Mark Wilson wore the latex suits |
| 00:33:55 |
A team of puppeteers produced the |
| 00:33:58 |
Oversized props were used |
| 00:34:00 |
so that when the ghost shots were |
| 00:34:04 |
Onionhead would be made |
| 00:34:19 |
"Ectoslime" was a gooey substance |
| 00:34:23 |
a powdered thickening agent used in |
| 00:34:27 |
All the corridors of the hotel... |
| 00:34:29 |
were actually shot at Stage 12 |
| 00:34:32 |
The set had been built originally |
| 00:34:39 |
But the banquet scenes were actually |
| 00:34:42 |
The ornate facility |
| 00:34:45 |
for two days of intense filming |
| 00:35:20 |
They installed this breakaway |
| 00:36:09 |
"From the time we turn on our nutrona |
| 00:36:12 |
Ivan wanted the scene played |
| 00:36:15 |
so there's not a lot of directional |
| 00:36:17 |
with people saying |
| 00:36:20 |
You see the Onionhead |
| 00:36:22 |
My character opens fire on it... |
| 00:36:25 |
completely destroying it." |
| 00:36:43 |
The destroyed walls were actually |
| 00:36:46 |
brought to the hotel |
| 00:36:48 |
The panels were imbedded |
| 00:36:51 |
that could be ignited on cue. |
| 00:37:00 |
This is a little bit of business |
| 00:37:03 |
Bill Murray couldn't |
| 00:37:12 |
The colorful nutrona beam effects |
| 00:37:15 |
at Richard Edlund's |
| 00:37:18 |
through a variety |
| 00:38:54 |
In the first Dan Aykroyd script, the |
| 00:39:06 |
In the script, the Ghostbusters |
| 00:39:10 |
and are swarmed by reporters. |
| 00:39:12 |
They hold a press conference and sing |
| 00:39:15 |
That part of the script was deleted, |
| 00:39:18 |
"Most of the montage was shot |
| 00:39:21 |
We had been working late |
| 00:39:24 |
then got up early in the morning... |
| 00:39:27 |
and went all over town |
| 00:39:30 |
We went to Chinatown, Rockefeller |
| 00:39:33 |
Saks Fifth Avenue and |
| 00:39:39 |
We just made quick stops |
| 00:39:41 |
That's pretty much the way |
| 00:39:44 |
a small crew, moving fast. |
| 00:39:46 |
We had two small trucks |
| 00:39:49 |
and Danny was actually driving |
| 00:39:52 |
And the crowds on Forty-Second Street |
| 00:39:55 |
You put Bill Murray and Dan Aykroyd |
| 00:39:58 |
and you have no trouble |
| 00:41:11 |
The ghost is "Playboy" centerfold |
| 00:41:14 |
These shots are part of a much longer |
| 00:41:36 |
The filmmakers thought |
| 00:41:39 |
needed a fourth member |
| 00:41:42 |
as the on-screen voice |
| 00:41:45 |
A no-nonsense professional |
| 00:41:48 |
In the early drafts of the script... |
| 00:41:50 |
Ernie Hudson's role |
| 00:41:53 |
was introduced before |
| 00:41:56 |
But, on further reflection, |
| 00:41:59 |
to delay Winston's introduction |
| 00:42:01 |
when the Ghostbusters had begun |
| 00:42:04 |
and could logically use |
| 00:42:42 |
Because of the shooting schedule, |
| 00:42:45 |
filmed between Bill Murray |
| 00:42:48 |
They rehearsed the night before, |
| 00:42:51 |
and shot the scene the next morning. |
| 00:43:00 |
This dialogue was rerecorded |
| 00:43:03 |
because the fountain |
| 00:43:05 |
but whenever the fountain was out of |
| 00:43:26 |
The location is the Lincoln Center |
| 00:43:37 |
"Gozer is based on several things. |
| 00:43:43 |
A little more to the point, though, |
| 00:43:46 |
that related to a documented haunting |
| 00:43:48 |
the one 'Poltergeist' was based on, |
| 00:43:51 |
During this particular haunting, |
| 00:43:54 |
throughout the house, |
| 00:43:56 |
So we figured we might as well |
| 00:43:59 |
that had been reported in the public |
| 00:44:02 |
as our main demon |
| 00:45:08 |
"The original concept for Winson's |
| 00:45:11 |
At one point, we were talking with |
| 00:45:14 |
We also considered getting a young black |
| 00:45:17 |
But, in retrospect, |
| 00:45:20 |
It would have been just too much. |
| 00:45:22 |
As it is, there is a nice balance |
| 00:45:25 |
Winston is the moderate character... |
| 00:45:29 |
against which the other three play." |
| 00:46:53 |
In Dan Aykroyd's first script... |
| 00:46:56 |
the ghost storage facility |
| 00:47:00 |
but rather in a deserted Sonoco |
| 00:47:03 |
taken over by the Ghostbusters... |
| 00:47:05 |
and surreptitiously converted into |
| 00:48:05 |
This analogy was invented |
| 00:48:08 |
as a way to explain the enormity |
| 00:48:14 |
Spengler is detecting within the city. |
| 00:48:16 |
"We were delighted with the notion that |
| 00:48:19 |
and yet still have a scientific |
| 00:48:22 |
From a physics point of view, |
| 00:48:25 |
like 'holes in |
| 00:48:28 |
Well, I didn't know |
| 00:48:31 |
so I came up with this Mr. Wizard |
| 00:48:34 |
that then led them into this analogy." |
| 00:48:38 |
More than 40 matte paintings were used |
| 00:48:46 |
The mammoth rooftop temple was built |
| 00:48:49 |
It cost more than a million dollars. |
| 00:48:52 |
The electrical storm effects were |
| 00:48:55 |
crackling spark generators |
| 00:49:08 |
The "breakout claw" was a rod-and-cable |
| 00:50:16 |
"A balance had to be struck |
| 00:50:19 |
The scene where the arms come out |
| 00:50:22 |
is a perfect example. |
| 00:50:24 |
I wanted it to be scary, |
| 00:50:27 |
that it takes all the fun |
| 00:50:29 |
In some scenes I was really treading |
| 00:51:19 |
The door is actually made |
| 00:51:22 |
The indentations were quite simple. |
| 00:51:24 |
Hunks of foam from an earlier |
| 00:51:27 |
were attached to makeshift handles and |
| 00:51:45 |
The arms were created... |
| 00:51:47 |
in the Entertainment Effects |
| 00:51:50 |
and were worn as glove appliances |
| 00:51:53 |
who positioned themselves beneath the |
| 00:52:28 |
The "nerd party" evolved from an idea |
| 00:52:31 |
shortly before photography began. |
| 00:52:33 |
To retain the comedic flow |
| 00:52:36 |
Ivan Reitman shot |
| 00:52:39 |
up to the Terror Dog's appearance... |
| 00:53:19 |
This Terror Dog is a full-size, |
| 00:53:31 |
This dog is a stop-motion miniature |
| 00:53:36 |
Back to the full-size puppet again. |
| 00:53:41 |
And back to the miniature again. |
| 00:53:45 |
There's a man under the floor |
| 00:00:06 |
They were filmed |
| 00:00:09 |
and composited into the film |
| 00:00:23 |
The Tavern on the Green |
| 00:00:26 |
The statues were added for this movie. |
| 00:00:28 |
"Once I had the location, |
| 00:00:31 |
for me to visualize |
| 00:00:34 |
New Yorkers are famous |
| 00:00:37 |
from people who are being shot |
| 00:00:40 |
It was a delicious combination |
| 00:00:43 |
and ironic social satire." |
| 00:00:58 |
The full-size Terror Dogs... |
| 00:01:00 |
were used for the expressive close-up |
| 00:01:03 |
They were created out of latex rubber |
| 00:01:11 |
This entrance scene wasn't shot |
| 00:01:14 |
It's a facsimile built |
| 00:01:17 |
for the later sinkhole sequence. |
| 00:01:19 |
The doorman is a double |
| 00:02:30 |
"At this point in the film, |
| 00:02:33 |
has gone from a cynic |
| 00:02:36 |
so he takes this situation seriously |
| 00:02:39 |
He shows real concern for this woman |
| 00:02:42 |
and we know he's going to do |
| 00:02:45 |
And the audience loves him for it. |
| 00:02:47 |
There are several funny lines |
| 00:02:49 |
that never get the response |
| 00:02:53 |
because the audience is uncomfortable |
| 00:02:56 |
It's not really |
| 00:02:58 |
start wrestling around on the bed |
| 00:03:01 |
and feels comfortable enough to laugh." |
| 00:04:16 |
In an unusual twist on the directorial |
| 00:04:19 |
reminiscent of Mercedes McCambridge's |
| 00:04:22 |
was actually that of Ivan Reitman. |
| 00:04:24 |
Reitman, in fact, provided all |
| 00:04:28 |
except that of Gozer. |
| 00:04:40 |
Sigourney Weaver was placed |
| 00:04:43 |
concealed beneath her flowing gown. |
| 00:04:45 |
Attached at the waist |
| 00:04:48 |
which extended through |
| 00:04:51 |
The effect worked well |
| 00:04:53 |
but a shadow of the bar could be seen |
| 00:04:56 |
The set had to be relit |
| 00:05:37 |
In the final script, this scene was |
| 00:05:40 |
was attacked by the Terror Dog |
| 00:05:43 |
but other changes during production... |
| 00:05:45 |
caused it to be moved back |
| 00:06:57 |
Yes, that's a kitchen colander |
| 00:07:00 |
It epitomizes the film company's... |
| 00:07:02 |
definite tongue-in-cheek attitude |
| 00:07:06 |
"For the most part, |
| 00:07:09 |
to look plausible, |
| 00:07:12 |
something the guys |
| 00:07:15 |
with off-the-shelf parts of one sort |
| 00:08:09 |
In the script, Harold Ramis replies, |
| 00:08:11 |
The line, and much |
| 00:08:14 |
was edited out during postproduction. |
| 00:09:32 |
In the script, Winston and Stantz |
| 00:09:35 |
of what may be happening |
| 00:09:37 |
on their way to a job |
| 00:09:40 |
Since the Fort Detmerring sequence |
| 00:09:43 |
this scene in the Ectomobile was |
| 00:09:46 |
Now the two men are supposedly |
| 00:09:49 |
exhausted and fearful. |
| 00:11:22 |
In describing the upcoming |
| 00:11:25 |
associate producer Joe Medjuck said, |
| 00:11:28 |
and the fact that we were |
| 00:11:31 |
it took a long time |
| 00:11:34 |
When everything was ready to go, Ivan |
| 00:11:37 |
and then wait for confirmation |
| 00:11:40 |
- Which the people inside |
| 00:11:43 |
Richard Edlund and his crew... |
| 00:11:45 |
were up on the roof of a building |
| 00:11:48 |
and once, when Ivan asked |
| 00:11:51 |
Richard said, 'No, we're not ready.' |
| 00:11:53 |
So Ivan stepped into the middle |
| 00:11:56 |
But everyone in the firehouse |
| 00:11:59 |
so the smoke bombs went off, the cast |
| 00:12:02 |
and there's Ivan standing |
| 00:12:04 |
It was like the worst filmmaking |
| 00:12:07 |
but Ivan just burst out laughing." |
| 00:14:08 |
Although the explosion of ghosts... |
| 00:14:10 |
through the fire hall rooftop |
| 00:14:13 |
a physical effect... involving blasts |
| 00:14:16 |
was also used as the building's... |
| 00:14:19 |
panic-driven occupants |
| 00:15:11 |
Background plates for this effect... |
| 00:15:13 |
were shot from atop the RCA building |
| 00:15:16 |
Ghost imagery... as with the fire hall |
| 00:15:19 |
was generated and added later |
| 00:15:33 |
The flying, fish-like ghost |
| 00:15:37 |
was a reminder |
| 00:15:39 |
in which the ghosts |
| 00:15:42 |
and use it to move |
| 00:15:48 |
The taxi driver was originally |
| 00:15:51 |
Rather than lose the chilling effect, |
| 00:16:06 |
No New York street scene |
| 00:16:08 |
The Onionhead is extra. |
| 00:16:31 |
To achieve |
| 00:16:34 |
the set was built to appear |
| 00:16:37 |
Then the crew filled it in with |
| 00:16:40 |
Inside, 15 air mortars were mounted |
| 00:16:43 |
When fired under pressure, they acted |
| 00:16:46 |
to blow out the wall and windows. |
| 00:16:53 |
The jail scene was shot on location |
| 00:16:56 |
It was later decommissioned |
| 00:16:59 |
"The lockup was |
| 00:17:01 |
It was dark and very crowded, |
| 00:17:04 |
Dan Aykroyd said that if there are |
| 00:17:07 |
And he was right. |
| 00:17:10 |
Later, we discovered scratches |
| 00:17:12 |
and we were all afraid we'd have |
| 00:17:16 |
Fortunately, Shelley Kahn was able to |
| 00:17:19 |
and the reshoot wasn't necessary." |
| 00:17:34 |
"Some things are impossible |
| 00:17:37 |
When we actually |
| 00:17:40 |
and saw all those brutes |
| 00:17:42 |
I suggested to Ivan that they watch us |
| 00:17:45 |
to all this physics and technical stuff |
| 00:17:48 |
It's a natural, but it's something |
| 00:17:51 |
until you got to the set... |
| 00:17:53 |
and saw the physical relationship |
| 00:19:48 |
On his way to Dana's apartment... |
| 00:19:50 |
Rick Moranis's character is attacked |
| 00:19:53 |
He calls upon his untapped powers |
| 00:19:55 |
and drives away the muggers |
| 00:19:58 |
But that scene was cut |
| 00:20:12 |
Dana doesn't seem to mind |
| 00:20:48 |
The film crew shot for two days |
| 00:20:51 |
The office of City Council president |
| 00:20:54 |
was graciously made available... |
| 00:20:56 |
as a stand-in |
| 00:20:59 |
"They usually don't allow film crews |
| 00:21:02 |
and they probably never will again. |
| 00:21:04 |
As careful and courteous |
| 00:21:07 |
it is still very disruptive." |
| 00:21:10 |
Dialogue in the mayor's office... |
| 00:21:12 |
changed considerably |
| 00:21:15 |
"During one take Dan Aykroyd called the |
| 00:21:19 |
and Bill Murray broke up laughing. |
| 00:21:21 |
That's something he almost never does |
| 00:24:10 |
They needed the National Guard |
| 00:24:13 |
but City Hall has no loading dock... |
| 00:24:15 |
so they shot this scene |
| 00:24:24 |
"We had decided we needed a |
| 00:24:27 |
as he jumps into the Ectomobile. |
| 00:24:29 |
The dailies of that day's shooting |
| 00:24:31 |
because we had all these takes of Bill |
| 00:24:34 |
yelling a different line each time. |
| 00:24:36 |
Ivan finally settled on... |
| 00:24:38 |
'Come on, let's run some red lights!"' |
| 00:24:41 |
Another matte painting... |
| 00:25:07 |
"At the time we were shooting... |
| 00:25:09 |
the big arrival outside |
| 00:25:12 |
we still didn't know for certain... |
| 00:25:14 |
whether we were going to be able |
| 00:25:17 |
Negotiations were still underway. |
| 00:25:19 |
I remember going into a phone booth |
| 00:25:22 |
calling Columbia |
| 00:25:24 |
so they could hear the 300 screaming |
| 00:25:27 |
shouting, |
| 00:25:28 |
And I said to them, 'You better damn |
| 00:26:37 |
To create the gaping sinkhole... |
| 00:26:39 |
a hydraulically operated |
| 00:26:41 |
at the Columbia Ranch in California... |
| 00:26:44 |
backed up by the facsimile of |
| 00:26:47 |
Since no permanent damage could be done |
| 00:26:50 |
the area around the actual |
| 00:26:52 |
was dressed with large, |
| 00:26:56 |
The final scene combined shots |
| 00:27:00 |
and the sinkhole location |
| 00:27:02 |
The stunt cost $250,000 in 1984. |
| 00:27:23 |
"It seemed to me that prior |
| 00:27:26 |
we had to demonstrate... |
| 00:27:29 |
just what they were going up against. |
| 00:27:32 |
The sinkhole effect showed how tough |
| 00:27:34 |
The studio didn't want me to do it. |
| 00:27:36 |
I was convinced |
| 00:27:39 |
so I stuck with it." |
| 00:28:11 |
The apartment building's |
| 00:28:14 |
were, in reality, |
| 00:28:16 |
They were filmed |
| 00:28:19 |
The remaining flights |
| 00:28:22 |
by the Entertainment Effects Group |
| 00:28:25 |
Some of the dialogue |
| 00:28:27 |
and some was added later in looping. |
| 00:28:36 |
The rooftop temple scenes |
| 00:28:39 |
Later, the scenes were enhanced |
| 00:28:42 |
A matte painting |
| 00:28:45 |
matte paintings |
| 00:28:47 |
animated lightning effects |
| 00:28:50 |
created by injecting clouds of paint |
| 00:29:48 |
This is a matte painting... |
| 00:29:50 |
with the live action footage |
| 00:29:53 |
onto an open area in the painting. |
| 00:29:55 |
The two camera pullbacks from |
| 00:29:58 |
had to match precisely. |
| 00:30:58 |
The position of the lightning bolts |
| 00:31:01 |
was determined in postproduction |
| 00:31:04 |
The Temple Dogs |
| 00:31:08 |
were actually miniatures |
| 00:32:02 |
The Temple Dogs on the staircase... |
| 00:32:04 |
were full-size figures |
| 00:32:07 |
The male dog had longer horns |
| 00:32:18 |
The character of Gozer |
| 00:32:20 |
more conceptual changes |
| 00:32:23 |
"Ivan though it might be |
| 00:32:25 |
if Gozer was rather androgynous |
| 00:32:28 |
Someone like Grace Jones |
| 00:32:31 |
But by the time we came up |
| 00:32:34 |
it was too late to sign up a big name." |
| 00:32:37 |
"I was not convinced |
| 00:32:40 |
Gozer in five-inch spike heels |
| 00:32:42 |
Ultimately, I think Ivan's instinct |
| 00:32:46 |
Gozer was played perfectly |
| 00:33:27 |
The New York skyline was a huge, |
| 00:33:30 |
that covered two-thirds |
| 00:33:32 |
It could be lit for either daylight |
| 00:33:44 |
The electrical power required |
| 00:33:47 |
Whenever the lights went on... |
| 00:33:49 |
filming in other parts |
| 00:33:52 |
It was one of the largest sets |
| 00:34:15 |
Ms. Jovan started the flip |
| 00:34:19 |
but a stunt double completed the flip |
| 00:35:08 |
The seismic disturbance |
| 00:35:10 |
with sound effects |
| 00:35:14 |
released from above |
| 00:35:29 |
The New York extras were pelted |
| 00:35:32 |
released from a giant crane |
| 00:35:43 |
The voice of Gozer |
| 00:37:01 |
This tracking shot was created... |
| 00:37:03 |
on a miniature set |
| 00:37:05 |
The Stay-Puft marshmallow man |
| 00:37:20 |
This is Columbus Circle in New York. |
| 00:37:22 |
The Stay-Puft man is an actor |
| 00:37:25 |
After both scenes were shot, |
| 00:37:33 |
There were 500 extras |
| 00:37:35 |
That night, traffic in New York |
| 00:38:37 |
For scenes of the Stay-Puft |
| 00:38:41 |
a special fire-retardant suit |
| 00:38:43 |
and worn by a stuntman scaling |
| 00:38:46 |
The marshmallow man |
| 00:38:48 |
to enhance his apparent mass. |
| 00:40:35 |
The explosions were shot |
| 00:40:38 |
and superimposed over combinations |
| 00:40:41 |
and miniature buildings. |
| 00:40:50 |
In the end, Walter Peck |
| 00:40:54 |
two hundred pounds of shaving cream |
| 00:43:56 |
"The movie was over once |
| 00:43:58 |
And as we edited the film... |
| 00:44:00 |
we just kept making the transition |
| 00:44:03 |
through to their leaving the building |
| 00:44:06 |
There was more dialogue on top... |
| 00:44:11 |
and we had another sequence |
| 00:44:13 |
where there was dialogue. |
| 00:44:15 |
Ultimately, I just cut |
| 00:44:18 |
It was over. The movie was over. |
| 00:44:20 |
And the sooner we got to the credits, |
