Ghostbusters Ivan Reitman

Development

Ghostbusters was inspired by Dan Aykroyd's fascination with and belief in the paranormal,[1][8] which he inherited from his father, who later wrote the book A History of Ghosts;[9] his mother, who claimed to have seen ghosts; his grandfather, who experimented with radios to contact the dead; and his great-grandfather, a renowned spiritualist. In 1981, Aykroyd read an article on quantum physics and parapsychology in The Journal of the American Society for Psychical Research, which gave him the idea of trapping ghosts. He was also drawn to the idea of modernizing the comedic ghost films of the mid-20th century by comics such as Abbott and Costello (Hold That Ghost, 1941), Bob Hope (The Ghost Breakers, 1940) and the Bowery Boys (Ghost Chasers, 1951).[8][10]

Aykroyd wrote the script, intending to star alongside Eddie Murphy and his close friend and fellow Saturday Night Live (SNL) alumnus John Belushi, before Belushi's accidental death in March 1982.[1][8] Aykroyd recalled writing one of Belushi's lines when producer and talent agent Bernie Brillstein called to inform him of Belushi's death.[8] He turned to another former SNL castmate, Bill Murray, who agreed to join without an explicit agreement, which is how he often worked.[8] Aykroyd pitched his concept to Brillstein as three men who chase ghosts and included a sketch of the Marshmallow Man character he had imagined. He likened the Ghostbusters to pest-control workers, saying that "calling a Ghostbuster was just like getting rats removed".[10] Aykroyd believed Ivan Reitman was the logical choice to direct, based on his successes with films such as Animal House (1978) and Stripes (1981).[8] Reitman was aware of the film's outline while Belushi was still a prospective cast member; this version took place in the future with many groups of intergalactic ghostbusters, and felt it "would have cost something like $200 million to make".[10][b] Aykroyd's original 70- to 80-page script treatment was more serious in tone and intended to be scary.[8][10]

Reitman met with Aykroyd at Art's Delicatessen in Studio City, Los Angeles, and explained that his concept would be impossible to make. He suggested that setting it entirely on Earth would make the extraordinary elements funnier, and that focusing on realism from the beginning would make the Marshmallow Man more believable by the end. He also wanted to portray the Ghostbusters' origins before starting their business: "This was beginning of the 1980s—everyone was going into business".[8][10] After the meeting, they met Harold Ramis at Burbank Studios. Reitman had worked with Ramis on previous films and believed he could better execute the tone he intended for the script than Aykroyd.[10] He also felt Ramis should play a Ghostbuster. After reading the script, Ramis joined the project immediately.[8]

Although the script required considerable changes, Reitman pitched the film to Columbia Pictures executive Frank Price in March 1983. Price found the concept funny, but was unsure of the project, as comedies were seen to have limited profitability. He said the film would take a big budget due to its special effects and popular cast.[8][10] Reitman reportedly said they could work with $25–30 million;[c] varying figures have been cited. Price agreed, as long as the film could be released by June 1984.[8][9] Reitman later admitted he made up the figure, basing it on three times the budget for Stripes, which seemed "reasonable".[8] This left 13 months to complete the film, with no finished script, effects studio, or filming start date.[9] Reitman hired his previous collaborators Joe Medjuck and Michael C. Gross as associate producers.[11] Columbia's CEO Fay Vincent sent his lawyer Dick Gallop to Los Angeles to convince Price not to pursue the film, but Price disagreed. Gallop returned to the head office to report that Price was "out of control".[8][10]

As the title "Ghostbusters" was legally restricted by the 1970s children's show The Ghost Busters, owned by Universal Studios, several alternatives titles were considered, including "Ghoststoppers", "Ghostbreakers", and "Ghostsmashers".[8][12][13] Price parted ways with Columbia early in Ghostbusters' production and became head of Universal Pictures, at which point he sold Columbia the title for $500,000 plus 1% of the film's profits. Given Hollywood's accounting practices—a method used by studios to artificially inflate a film's production costs to limit royalty or tax payouts—the film technically never made a profit for Universal to be owed a payment.[10][12][14]

Writing

Aykroyd, Ramis, and Reitman began reworking the script, first at Reitman's office, then sequestering themselves and their families on Martha's Vineyard, Massachusetts. Aykroyd had a home there, and they worked day and night in his basement for about two weeks.[9] Aykroyd was willing to rework his script; he considered himself a "kitchen sink" writer who created the funny situations and paranormal jargon, while Ramis refined the jokes and dialogue. They wrote separately, then rewrote each other's drafts. Many scenes had to be cut, including an asylum haunted by celebrities, and an illegal ghost-storage facility in a New Jersey gas station.[8] Their initial draft was completed when they left the Vineyard in mid-July 1983, and a third and near-final draft was ready by early August.[8][9][15] When Murray flew to New York after filming The Razor's Edge (1984) to meet Aykroyd and Ramis, he offered little input on the script or his character. Having written for Murray multiple times, Ramis said he knew "how to handle his character's voice".[8]

It was decided early on that Ramis's character would be the brains of the Ghostbusters, Aykroyd's the heart, and Murray's the mouth.[10] Aykroyd drew inspiration from fiction archetypes: "Put Peter Venkman, Raymond Stantz, and Egon Spengler together, and you have the Scarecrow, the Lion, and the Tin Man".[8] His concept called for the Ghostbusters to have a boss and to be directed into situations, but Ramis preferred they be in control "of their own destiny" and make their own choices. This led to the development of more distinct identities for the characters: Peter as the cool, modern salesman; Ray as the honest, enthusiastic technician; and Egon as the factual, stoic intellectual.[11]

Reitman thought the most difficult parts of the writing were determining the story's goal, who the villain was and their goal, why ghosts were manifesting, and how a towering Marshmallow Man would appear. The creature was one of many elaborate supernatural entities in Aykroyd's initial treatment, originally intended to emerge from the East River only 20 minutes into the film. It stood out to Reitman but concerned him because of the relatively realistic tone they were taking. Meanwhile, Reitman searched for a special effects studio, eventually recruiting Richard Edlund in the same two-week span.[9][16]

Cast and characters

Murray was considered essential to Ghostbusters' potential success, but he was known for not committing to projects until late. Price agreed to fund Murray's passion project The Razor's Edge, believing if it failed it would lose little money, and hoping the gesture would secure Murray's commitment to Ghostbusters.[8] Michael Keaton, Chevy Chase, Tom Hanks, Robin Williams, Steve Guttenberg, and Richard Pryor were also considered for the role.[1][17][18] Christopher Walken, John Lithgow, Christopher Lloyd, Jeff Goldblum, and Keaton were considered to portray Egon.[18][19] Ramis was inspired by the cover of a journal on abstract architecture for Egon's appearance, featuring a man wearing a three-piece tweed suit and wire-rim glasses, his hair standing straight up. He took the character's first name from a Hungarian refugee with whom he attended school, and the surname from German historian Oswald Spengler.[10] Apart from the three main stars, Medjuck was largely responsible for casting the roles.[20]

Hudson auditioned five times for the role of Winston Zeddemore.[8] According to him, an earlier version of the script gave Winston a larger role as an Air Force demolitions expert with an elaborate backstory. Excited by the part, he agreed to the job for half his usual salary. The night before shooting began, he received a new script with a greatly reduced role; Reitman told him the studio wanted to expand Murray's part.[21] Aykroyd said Winston was the role intended for Eddie Murphy, although Reitman denied this.[3][22] Gregory Hines and Reginald VelJohnson were also considered for the part.[23][24]

Daryl Hannah, Denise Crosby, Julia Roberts, and Kelly LeBrock auditioned for the role of Dana Barrett, but Sigourney Weaver attracted the filmmakers' attention. There was resistance to casting her because of the generally serious roles she had played in Alien (1979) and The Year of Living Dangerously (1982). She revealed her comedic background, developed at the Yale School of Drama, and began walking on all fours and howling like a dog during her audition.[d] It was her suggestion for Dana to become possessed by Zuul; Reitman said this solved problems with the last act by giving the characters personal stakes in the events.[9] Weaver also changed Dana's occupation from a model to a musician, saying that Dana can be somewhat strict, but has a soul because she plays the cello.[8]

John Candy was offered the role of Louis Tully. He told Reitman he did not understand the character and suggested portraying Tully with a German accent and multiple German Shepherds, but the filmmakers felt there were already enough dogs in the film. Candy chose not to pursue the role. Reitman had previously worked with Rick Moranis and sent him the script. He accepted the role an hour later.[9][10][15] Moranis developed many aspects of his character, including making him an accountant, and ad-libbed the lengthy speech at Tully's party.[15] Sandra Bernhard turned down the role of the Ghostbusters' secretary Janine Melnitz, which went to Annie Potts. When she arrived for her first day of filming, Reitman rushed Potts into the current scene. She quickly changed out of her street clothes and borrowed a pair of glasses worn by the set dresser which her character subsequently wore throughout the film.[27][10]

William Atherton was chosen for the role of Walter Peck after he had appeared in the Broadway play Broadway. Peck was described as akin to Margaret Dumont's role as a comedic foil to the Marx Brothers. Atherton said: "It can't be funny, and I don't find [the Ghostbusters] in the least bit charming. I have to be outraged."[28] The role of the Sumerian god Gozer the Gozerian, envisioned as a business-suited architect, was originally intended for Paul Reubens. When he passed on the idea, Yugoslavian actress Slavitza Jovan was cast and the character changed to one inspired by the androgynous looks of Grace Jones and David Bowie.[27][29][30] Paddi Edwards was uncredited as the voice of Gozer, dubbing over Jovan's strong Slavic accent.[1][31] Reitman's wife and their children, Jason and Catherine, filmed a cameo appearance as a family fleeing Dana's building, but the scene was cut because Jason was too scared by the setup to perform a second take.[32]

Filming

Principal photography began in New York City on October 28, 1983.[1][8][33] On the first day, Reitman brought Murray to the set, still unsure if he had read the script.[8] Filming in New York lasted for approximately six weeks, finishing just before Christmas.[9] Reitman was conscious they had to complete the New York phase before they encountered inhospitable December weather.[34] At the time, choosing to shoot in New York City was considered risky. In the early 1980s, many saw the city as synonymous with fiscal disaster and violence, and Los Angeles was seen as the center of the entertainment industry. In a 2014 interview, Reitman said he chose New York because "I wanted the film to be ... my New York movie".[8] As Reitman was working with comedians, he encouraged improvisation, adapting multiple takes and keeping the cast creations that worked, but directing them back to the script.[15]

Some guerrilla filmmaking took place, capturing spontaneous scenes at iconic locations around the city, including one shot at Rockefeller Center where the actors were chased off by a real security guard.[8] A scene was shot on Central Park West with extras chanting "Ghostbusters" before the name had been cleared. Medjuck contacted the studio, urging them to secure permission to use the word as the title.[10]

The building at 55 Central Park West served as the home of Weaver's character and the setting of the Ghostbusters' climactic battle with Gozer. The art department added extra floors and embellishments using matte paintings, models, and digital effects to create the focal point of ghostly activity.[7][35][36] During shooting of the final scene at the building, city officials allowed the closure of the adjacent streets during rush hour, affecting traffic across a large swath of the city. Gross commented that, from the top of the building, they could see traffic queuing all the way to Brooklyn. At various points, a police officer drew his gun on a taxi driver who refused orders; in a similar incident, another officer pulled a driver through his limo window. When angry citizens asked Medjuck what was being filmed, he blamed Francis Ford Coppola filming The Cotton Club (1984). Aykroyd encountered science-fiction writer Isaac Asimov, a man he admired, who complained, "You guys are inconveniencing this building, it's just awful; I don't know how they got away with this!"[10] Directly next to 55 Central Park West is the Holy Trinity Lutheran Church, which is stepped on by the Marshmallow Man.[36]

Other locations included New York City Hall,[36] the New York Public Library main branch,[1] the Lincoln Center for the Performing Arts,[37] Columbus Circle, the Irving Trust Bank on Fifth Avenue,[38] and Tavern on the Green. Firehouse, Hook & Ladder Company 8 in the Tribeca neighborhood was used as the Ghostbusters' headquarters.[1][3][39] Columbia University allowed its Havemeyer Hall to stand in for the fictional Weaver Hall, on the condition the university not be identified by name.[39]

Filming moved to Los Angeles, resuming between Christmas and the New Year.[9] Due to the film's use of practical effects, skilled technicians were needed who resided mainly in the city and soundstages that were non-existent in New York.[34] Despite its setting, most of Ghostbusters was filmed on location in Los Angeles or on sets at Burbank Studios. Location scouts searched for buildings that could replicate the interiors of buildings being filmed in New York.[1][34] Reitman tried using the interior of Hook & Ladder 8, but was unable to take it over long enough because it was an active fire station. Interior firehouse shots were taken instead at the decommissioned Fire House No. 23 in downtown Los Angeles. The building design, while common in New York, was a rarity in Los Angeles. An archival photograph of an active crew in Fire House No. 23 from 1915 was hung in the background of the Ghostbusters' office.[34]

Filming in the main reading room of the New York Public Library was only allowed in the early morning and had to be concluded by 10:00 am.[16] The basement library stacks were represented by the Los Angeles Central Library as Reitman said they were interchangeable.[34] The Millennium Biltmore Hotel stood in for the scenes set at the fictional Sedgewick Hotel.[40] Principal photography concluded at the end of January 1984, after between 55 and 62 days of filming.[9][41]

Post-production

The short production schedule and looming release date meant Reitman edited the film while it was being shot. There was often only time for a few takes.[9][16] Reitman sometimes found making an effects-laden movie frustrating, as the special effects had to be storyboarded and filmed in advance; there was no option to go back and produce new scenes. As Gross described it: "[Y]ou storyboard in advance, that's like editing in advance. You've got a scene, they're going to approve that scene, and we're going to spend nine months doing that cut. There's no second takes, no outtakes, there's no coverage. You can cut stuff, but you can't add stuff. It made [Reitman] so confined that it really bothered him".[41]

A deleted scene involved a segment at "Fort Detmerring" where Ray has a sexual encounter with a female ghost. The scene was intended to introduce a love interest for Aykroyd. Ramis believed it was extraneous to the fast-moving plot, however, so Reitman used the footage as a dream sequence during the mid-film montage instead.[42] Editor Sheldon Kahn sent Reitman black-and-white reels of sequences during filming. They not only allowed him to make changes, but he considered they also helped him understand how to better pace the film. Kahn completed the first full cut three weeks after filming concluded.[9] The final cut runs for 105 minutes.[1]

Music

The Ghostbusters score was composed by Elmer Bernstein and performed by the 72-person Hollywood Studio Symphony orchestra at The Village in West Los Angeles, California. It was orchestrated by David Spear and Bernstein's son Peter.[43][44] Elmer Bernstein had previously scored several of Reitman's films and joined the project early on, before all the cast had been signed.[43] Reitman wanted a grounded, realistic score and did not want the music to tell the audience when something was funny.[41] Bernstein used the ondes Martenot (effectively a keyboard equivalent of a theremin) to produce the "eerie" effect. Bernstein had to bring a musician from England to play the instrument because there were so few trained ondists. He also used three Yamaha DX7 synthesizers.[43][44] In a 1985 interview Bernstein described Ghostbusters as the most difficult score he had written, finding it challenging to balance the varying comedic and serious tones. He created an "antic" theme for the Ghostbusters he described as "cute, without being really way out". He found the latter parts of the film easier to score, aiming to make it sound "awesome and mystical".[43]

Early on Reitman and Bernstein discussed the idea that Ghostbusters would feature popular music at specific points to complement Bernstein's original score. This includes "Magic" by Mick Smiley, which plays during the scene when the ghosts are released from the Ghostbusters headquarters. Bernstein's main theme for the Ghostbusters was later replaced by Ray Parker Jr.'s "Ghostbusters".[43][44] Bernstein personally disliked the use of these songs, particularly "Magic", but said, "it's very hard to argue with something like ["Ghostbusters"], when it is up in the top ten on the charts".[43]

Music was required for a montage in the middle of the film, and "I Want a New Drug" by Huey Lewis and the News was used as a temporary placeholder because of its appropriate tempo. Reitman was later introduced to Parker Jr. who developed "Ghostbusters" with a similar riff to match the montage.[10] There were approximately 50 to 60 different theme songs developed for Ghostbusters by different artists before Parker Jr.'s involvement, though none was deemed suitable.[45][46] Huey Lewis was approached to compose the film's theme, but was already committed to work on Back to the Future (1985).[1]