text
stringlengths 505
4.3k
|
|---|
ro yd ▁conce ived ▁Ghost b ust ers ▁as ▁a ▁project ▁for ▁himself ▁and ▁John ▁Bel ush i . ▁The ▁protagon ists ▁would ▁travel ▁through ▁time ▁and ▁space ▁to ▁combat ▁a ▁host ▁of ▁demon ic ▁and ▁super natural ▁thre ats . ▁Following ▁Bel ush i ' s ▁death , ▁and ▁with ▁A yk ro yd ' s ▁concept ▁de emed ▁finan cially ▁imp ract ical , ▁he ▁was ▁pa ired ▁with ▁Ram is ▁to ▁rewrite ▁the ▁script ▁to ▁set ▁it ▁in ▁New ▁York ▁City ▁and ▁make ▁it ▁more ▁real istic . ▁Ghost b ust ers ▁was ▁the ▁first ▁comedy ▁film ▁to ▁employ ▁expensive ▁special ▁effects . ▁There ▁was ▁concern ▁about ▁the ▁budget ▁it ▁would ▁require , ▁and ▁little ▁faith ▁in ▁its ▁potential ▁for ▁box ▁office ▁success . ▁On ▁an ▁approximate ▁$ 2 5 – 3 0 ▁million ▁budget , ▁film ing ▁took ▁place ▁between ▁October ▁ 1 9 8 3 ▁to ▁January ▁ 1 9 8 4 , ▁on ▁location ▁in ▁New ▁York ▁City ▁and ▁Los ▁Angeles , ▁and ▁on ▁sets ▁at ▁Bur bank ▁Studios , ▁Los ▁Angeles . ▁Compet ition ▁for ▁special ▁effects ▁stud ios ▁among ▁various ▁mov ies ▁in ▁development ▁at ▁the ▁time ▁meant ▁that ▁part ▁of ▁the ▁budget ▁was ▁used ▁to ▁co - found ▁a ▁new ▁studio ▁under ▁Richard ▁Ed l und . ▁He ▁used ▁a ▁combination ▁of ▁practical ▁effects , ▁mini atures , ▁and ▁pu ppets ▁to ▁deliver ▁the ▁g hou lish ▁visual s . ▁ ▁Ghost b ust ers ▁was ▁released ▁on ▁June ▁ 8 , ▁ 1 |
9 8 4 , ▁to ▁critical ▁acc laim ▁and ▁became ▁a ▁cultural ▁phenomen on . ▁It ▁was ▁well ▁received ▁for ▁its ▁de ft ▁bl end ▁of ▁comedy , ▁action , ▁and ▁horror , ▁and ▁Murray ' s ▁performance ▁was ▁repeatedly ▁sing led ▁out ▁for ▁pra ise . ▁The ▁film ▁earned ▁$ 2 8 2 . 2 ▁million ▁during ▁its ▁initial ▁the atr ical ▁run , ▁making ▁it ▁the ▁second - high est - g ross ing ▁film ▁of ▁that ▁year , ▁and ▁the ▁highest - g ross ing ▁comedy ▁of ▁all ▁time ▁at ▁that ▁point . ▁It ▁was ▁the ▁number - one ▁film ▁in ▁the aters ▁for ▁seven ▁consecutive ▁weeks ▁and ▁was ▁one ▁of ▁only ▁four ▁films ▁to ▁gross ▁more ▁than ▁$ 1 0 0 ▁million ▁that ▁year . ▁Further ▁the atr ical ▁releases ▁have ▁increased ▁the ▁total ▁gross ▁to ▁approximately ▁$ 2 9 5 . 7 ▁million , ▁making ▁it ▁the ▁most ▁successful ▁comedy ▁film ▁of ▁the ▁ 1 9 8 0 s . ▁In ▁ 2 0 1 5 , ▁the ▁Library ▁of ▁Congress ▁selected ▁it ▁for ▁pres ervation ▁in ▁the ▁National ▁Film ▁Reg istry , ▁finding ▁it ▁" c ultur ally , ▁histor ically , ▁or ▁a est het ically ▁significant ". ▁Its ▁theme ▁song , ▁" G host b ust ers " ▁by ▁Ray ▁Parker ▁Jr ., ▁was ▁also ▁a ▁number - one ▁hit . ▁ ▁With ▁its ▁impact ▁on ▁popular ▁culture , ▁and ▁a ▁dedicated ▁fan ▁following , ▁the ▁success ▁of ▁Ghost b ust ers ▁launched ▁a ▁multi |
- b ill ion ▁doll ar ▁multimedia ▁franch ise . ▁This ▁includes ▁the ▁popular ▁animated ▁television ▁series ▁The ▁Real ▁Ghost b ust ers ▁( which ▁itself ▁spawn ed ▁a ▁media ▁franch ise ), ▁its ▁sequ el ▁series ▁Ext reme ▁Ghost b ust ers , ▁video ▁games , ▁board ▁games , ▁com ic ▁books , ▁cl othing , ▁music , ▁books , ▁food , ▁to ys , ▁collect ables , ▁and ▁ha unted ▁attra ctions . ▁Ghost b ust ers ▁was ▁followed ▁in ▁ 1 9 8 9 ▁by ▁a ▁sequ el , ▁Ghost b ust ers ▁II , ▁which ▁f ared ▁less ▁well ▁finan cially ▁and ▁crit ically . ▁Re pe ated ▁attempts ▁to ▁develop ▁a ▁further ▁sequ el ▁had ▁ended ▁following ▁Ram is ' s ▁death ▁in ▁ 2 0 1 4 . ▁A ▁ 2 0 1 6 ▁reboot , ▁also ▁called ▁Ghost b ust ers , ▁was ▁released ▁to ▁mixed ▁reviews ▁and ▁financial ▁failure . ▁A ▁second , ▁direct ▁sequ el , ▁Ghost b ust ers : ▁After life , ▁is ▁scheduled ▁for ▁release ▁in ▁ 2 0 2 1 . ▁ ▁Plot ▁ ▁Peter ▁V enk man , ▁Ray ▁St ant z , ▁and ▁Eg on ▁Sp eng ler ▁are ▁scient ists ▁at ▁Columbia ▁University ▁investig ating ▁the ▁par an ormal . ▁Following ▁their ▁first ▁encounter ▁with ▁a ▁g host ▁manifest ing ▁at ▁the ▁New ▁York ▁Public ▁Library , ▁the ▁de an ▁fires ▁them ▁and ▁dismiss es ▁the ▁cred ibility ▁of ▁their ▁research . ▁In ▁response , ▁they ▁create |
▁" G host b ust ers ", ▁a ▁par an ormal ▁investigation ▁and ▁elim ination ▁service . ▁They ▁convert ▁a ▁dis used ▁fire house , ▁develop ▁high - tech ▁equipment ▁to ▁capture ▁and ▁contain ▁g hosts , ▁and ▁convert ▁a ▁combination ▁car ▁into ▁the ▁" E ct om obile " ▁to ▁support ▁their ▁business . ▁ ▁See ing ▁their ▁television ▁ad , ▁a ▁ske pt ical ▁cell ist , ▁D ana ▁Bar rett , ▁is ▁initially ▁dismiss ive ▁but ▁rel uct antly ▁calls ▁them ▁after ▁a ▁par an ormal ▁encounter ▁in ▁her ▁kitchen . ▁Rec ount ing ▁the ▁event , ▁she ▁describes ▁opening ▁her ▁re fr iger ator ▁and ▁seeing ▁a ▁creature ▁that ▁ut ters ▁a ▁single ▁word : ▁" Z u ul ." ▁V enk man ▁re ass ures ▁her ▁and ▁becomes ▁rom ant ically ▁interested , ▁while ▁Ray ▁and ▁Eg on ▁research ▁her ▁claims . ▁Business ▁is ▁slow ▁until ▁they ▁are ▁h ired ▁to ▁remove ▁a ▁g host ▁from ▁the ▁S edge wick ▁Hotel . ▁There , ▁Eg on ▁war ns ▁the ▁group ▁never ▁to ▁cross ▁the ▁energy ▁streams ▁of ▁their ▁pro ton ▁pack ▁weapons , ▁as ▁this ▁could ▁cause ▁a ▁cat ast roph ic ▁explos ion . ▁They ▁capture ▁their ▁first ▁g host ▁and ▁depos it ▁it ▁in ▁a ▁special ▁contain ment ▁unit ▁in ▁the ▁fire house . ▁ ▁So on ▁their ▁business ▁bo oms ▁as ▁par an ormal ▁activity ▁increases ▁across ▁New ▁York ▁City . ▁To ▁co pe ▁with ▁demand , ▁they ▁h ire ▁a ▁fourth ▁member , ▁W |
inst on ▁Z ed dem ore . ▁Sus p icious ▁of ▁their ▁operation , ▁Walter ▁Pe ck , ▁an ▁Environment al ▁Prote ction ▁Agency ▁inspect or , ▁asks ▁to ▁evaluate ▁their ▁equipment ▁but ▁leaves ▁after ▁V enk man ▁ins ult s ▁him . ▁Priv ately , ▁Eg on ▁war ns ▁the ▁team ▁the ▁increase ▁in ▁super natural ▁activity ▁is ▁becoming ▁dangerous ▁and ▁their ▁equipment ▁is ▁at ▁risk ▁of ▁failing ▁under ▁the ▁stress . ▁ ▁V enk man ▁meets ▁with ▁D ana . ▁He ▁shares ▁that ▁Zu ul ▁was ▁a ▁dem ig od ▁worship ed ▁as ▁a ▁servant ▁to ▁" G oz er ▁the ▁G oz er ian ," ▁a ▁shape - sh ifting ▁god ▁of ▁destruction . ▁He ▁convin ces ▁D ana ▁to ▁discuss ▁her ▁case ▁further ▁over ▁dinner . ▁However , ▁when ▁D ana ▁returns ▁home , ▁she ▁is ▁super n atur ally ▁assault ed ▁and ▁possessed ▁by ▁Zu ul . ▁In ▁a ▁nearby ▁a partment , ▁a ▁nearly ▁identical ▁entity ▁manifest s , ▁then ▁ch ases ▁and ▁poss esses ▁her ▁neighbor , ▁Louis ▁Tul ly . ▁V enk man ▁arriv es ▁and ▁finds ▁the ▁possessed ▁D ana / Z u ul ▁claim ing ▁to ▁be ▁" the ▁Gate keeper ." ▁Louis , ▁also ▁possessed , ▁is ▁found ▁by ▁police ▁officers ▁and ▁claims ▁he ▁is ▁" V in z ▁Cl orth o , ▁the ▁Ke ym aster ▁of ▁G oz er ." ▁The ▁Ghost b ust ers ▁agree ▁they ▁need ▁to ▁re group ▁but ▁keep ▁the ▁pair ▁separated . ▁ ▁Pe ck |
▁returns ▁with ▁law - en for cement ▁and ▁city ▁workers ▁to ▁have ▁the ▁Ghost b ust ers ▁arrested ▁and ▁orders ▁the ▁de activ ation ▁of ▁their ▁g host ▁contain ment ▁system . ▁Str essed ▁beyond ▁capacity , ▁the ▁shut down ▁causes ▁an ▁explos ion ▁that ▁releases ▁the ▁captured ▁g hosts , ▁and ▁the ▁Ghost b ust ers ▁are ▁det ained . ▁Louis / V in z ▁man ages ▁to ▁escape ▁in ▁the ▁confusion ▁and ▁makes ▁his ▁way ▁to ▁the ▁a partment ▁building ▁where ▁he ▁meets ▁D ana / Z u ul . ▁In ▁j ail , ▁Ray ▁and ▁Eg on ▁reve al ▁that ▁D ana ' s ▁building ▁is ▁the ▁true ▁source ▁of ▁the ▁super natural ▁increase . ▁The ▁architect ▁was ▁a ▁genius ▁and ▁cult ▁leader ▁of ▁G oz er - wor sh ipp ers , ▁who ▁designed ▁it ▁to ▁channel ▁g hosts ▁for ▁the ▁purpose ▁of ▁ending ▁the ▁world . ▁Fac ed ▁with ▁cha os ▁in ▁the ▁city , ▁the ▁Ghost b ust ers ▁conv ince ▁the ▁mayor ▁to ▁release ▁them ▁over ▁Pe ck ' s ▁protest s . ▁ ▁On ▁the ▁a partment ▁building ▁roof , ▁D ana / Z u ul ▁and ▁Louis / V in z ▁open ▁the ▁gate ▁between ▁dimensions ▁and ▁transform ▁into ▁super natural ▁cre atures ▁just ▁as ▁the ▁Ghost b ust ers ▁arrive . ▁G oz er , ▁in ▁the ▁form ▁of ▁a ▁woman , ▁arriv es , ▁and ▁Ray ▁attempts ▁to ▁reason ▁with ▁her ▁first . ▁When ▁this ▁fails , ▁G oz er ▁attacks , |
▁forcing ▁the ▁Ghost b ust ers ▁to ▁attempt ▁to ▁trap ▁her , ▁but ▁she ▁disapp ears . ▁Her ▁dis emb od ied ▁voice ▁dem ands ▁the ▁Ghost b ust ers ▁" choose ▁the ▁form ▁of ▁the ▁destruct or ." ▁Raymond ▁in ad vert ently ▁rec alls ▁a ▁bel oved ▁corpor ate ▁mas cot ▁from ▁his ▁child hood , ▁and ▁G oz er ▁re app ears ▁in ▁the ▁form ▁of ▁a ▁giant , ▁" St ay ▁Pu ft " ▁mar sh m allow ▁man ▁that ▁proceed s ▁to ▁attack ▁the ▁city . ▁Eg on ▁tells ▁the ▁team ▁to ▁ignore ▁his ▁earlier ▁advice ▁and ▁cross ▁their ▁pro ton ▁energy ▁streams ▁at ▁G oz er ' s ▁portal . ▁The ▁resulting ▁explos ion ▁dest ro ys ▁G oz er ' s ▁mar sh m allow ▁man ▁form , ▁ban ishes ▁it ▁from ▁this ▁dimension , ▁and ▁clos es ▁the ▁portal . ▁The ▁Ghost b ust ers ▁rescue ▁D ana ▁and ▁Louis ▁from ▁the ▁w reck age ▁and ▁are ▁wel com ed ▁on ▁the ▁street ▁as ▁hero es . ▁ ▁Cast ▁▁ ▁Bill ▁Murray ▁as ▁Peter ▁V enk man ▁ ▁Dan ▁A yk ro yd ▁as ▁Ray ▁St ant z ▁ ▁Sig our ney ▁We aver ▁as ▁D ana ▁Bar rett ▁ ▁Harold ▁Ram is ▁as ▁Eg on ▁Sp eng ler ▁ ▁Rick ▁Mor an is ▁as ▁Louis ▁Tul ly ▁ ▁An nie ▁Pot ts ▁as ▁Jan ine ▁M eln itz ▁ ▁William ▁A ther ton ▁as ▁Walter ▁Pe ck ▁ ▁Er nie ▁Hudson ▁as ▁W inst |
on ▁Z ed dem ore ▁ ▁In ▁addition ▁to ▁the ▁main ▁cast , ▁Ghost b ust ers ▁features ▁David ▁Marg ul ies ▁as ▁Len ny ▁Cl ot ch , ▁Mayor ▁of ▁New ▁York , ▁Michael ▁En sign ▁as ▁Manager ▁of ▁the ▁S edge wick ▁Hotel , ▁and ▁S lav itza ▁J ovan ▁as ▁G oz er ▁( vo iced ▁by ▁P add i ▁Edwards ). ▁The ▁film ▁also ▁features ▁ast ro log ist ▁Ruth ▁H ale ▁Oliver ▁as ▁the ▁Library ▁Ghost , ▁Alice ▁Dr um mond ▁as ▁the ▁L ibr arian , ▁Jenn ifer ▁Run y on ▁and ▁Steven ▁T ash ▁as ▁V enk man ' s ▁psych ological ▁test ▁subjects , ▁Play boy ▁Play mate ▁K ym ber ly ▁Herr in ▁as ▁a ▁Dream ▁Ghost , ▁Tim othy ▁Car hart ▁as ▁a ▁viol in ist , ▁and ▁Regin ald ▁Vel John son ▁as ▁a ▁police ▁officer . ▁Roger ▁Gr ims by , ▁Larry ▁King , ▁Joe ▁Franklin , ▁and ▁Case y ▁Kas em ▁came o ▁as ▁themselves , ▁the ▁latter ▁in ▁a ▁voice - only ▁role . ▁Kas em ' s ▁wife ▁Jean ▁appears ▁in ▁the ▁film ▁as ▁the ▁tall ▁guest ▁at ▁Louis ' ▁party . ▁The ▁film ▁also ▁features ▁appearances ▁by ▁por n ▁star ▁Ron ▁Jer emy , ▁and ▁a ▁young ▁Deb bie ▁Gib son . ▁Director ▁Ivan ▁Re it man ▁provided ▁mis cell aneous ▁g host ▁voices , ▁including ▁that ▁of ▁S lim er . ▁ ▁Production ▁ ▁Development ▁ ▁Ghost b ust ers ▁was ▁inspired ▁by ▁Dan ▁A yk |
ro yd ' s ▁fasc ination ▁with ▁and ▁belief ▁in ▁the ▁par an ormal . ▁This ▁was ▁inherited ▁from ▁his ▁father ▁( who ▁wrote ▁the ▁book ▁A ▁History ▁of ▁G hosts ), ▁his ▁mother ▁( who ▁claimed ▁she ▁had ▁seen ▁g hosts ), ▁a ▁grand father ▁( who ▁experiment ed ▁with ▁using ▁rad ios ▁to ▁contact ▁the ▁dead ), ▁and ▁a ▁great - grand father ▁( a ▁ren owned ▁spiritual ist ). ▁In ▁ 1 9 8 1 , ▁he ▁read ▁an ▁article ▁on ▁quantum ▁physics ▁and ▁par aps ych ology ▁in ▁The ▁Journal ▁of ▁the ▁American ▁Society ▁for ▁Psych ical ▁Research , ▁which ▁gave ▁him ▁the ▁idea ▁of ▁tra pping ▁g hosts . ▁A yk ro yd ▁was ▁also ▁drawn ▁to ▁the ▁idea ▁of ▁modern izing ▁the ▁com edic ▁g host ▁films ▁of ▁the ▁mid - 1 9 0 0 s ▁made ▁by ▁teams ▁like ▁Abb ott ▁and ▁Cost ello ▁( Hold ▁That ▁Ghost ▁( 1 9 4 1 )), ▁Bob ▁Hope ▁( The ▁Ghost ▁Bre akers ▁( 1 9 4 0 )), ▁and ▁The ▁Bow ery ▁Boys ▁( G host ▁Ch as ers ▁( 1 9 5 1 )). ▁ ▁A yk ro yd ▁began ▁writing ▁the ▁script ▁and ▁intended ▁to ▁star ▁in ▁it ▁himself ▁with ▁Edd ie ▁Mur phy ▁and ▁his ▁friend ▁and ▁fellow ▁Saturday ▁Night ▁Live ▁( SN L ) ▁al umn us ▁John ▁Bel ush i , ▁before ▁Bel ush i ' s ▁accident al ▁death ▁in ▁March ▁ 1 9 8 2 . ▁A yk ro yd |
▁re called ▁that ▁moment , ▁saying : ▁" I ▁was ▁writing ▁a ▁line ▁for ▁John , ▁and ▁[ produ cer ▁and ▁talent ▁agent ] ▁Bern ie ▁Br ill stein ▁called ▁and ▁said ▁they ▁just ▁found ▁him … ▁We ▁loved ▁each ▁other ▁as ▁brothers ." ▁He ▁turned ▁to ▁another ▁SN L ▁former ▁cast mate , ▁Bill ▁Murray , ▁who ▁agreed ▁to ▁join ▁the ▁project , ▁al beit ▁without ▁an ▁explicit ▁agreement , ▁which ▁is ▁how ▁he ▁often ▁worked . ▁A yk ro yd ▁pitch ed ▁his ▁concept ▁to ▁Br ill stein ▁as ▁three ▁men ▁who ▁ch ase ▁g hosts , ▁even ▁providing ▁a ▁sketch ▁of ▁the ▁" Mar sh m allow ▁Man ." ▁He ▁li ken ed ▁them ▁to ▁normal ▁p est ▁control ▁workers , ▁saying ▁that ▁" call ing ▁a ▁Ghost b uster ▁was ▁just ▁like ▁getting ▁r ats ▁removed ." ▁ ▁After ▁his ▁success es ▁with ▁Animal ▁House ▁( 1 9 7 8 ), ▁Me at ball s ▁( 1 9 7 9 ), ▁and ▁St ri pes ▁( 1 9 8 1 ), ▁A yk ro yd ▁felt ▁Ivan ▁Re it man ▁was ▁the ▁logical ▁choice ▁for ▁director . ▁They ▁had ▁also ▁worked ▁together ▁on ▁the ▁Canadian ▁television ▁variety ▁show ▁S CT V . ▁Re it man ▁said ▁he ▁had ▁been ▁told ▁the ▁film ' s ▁basic ▁concept ▁while ▁Bel ush i ▁was ▁still ▁a ▁pros pective ▁cast ▁member , ▁and ▁that ▁it ▁took ▁place ▁in ▁the ▁future ▁with ▁many ▁groups ▁of ▁inter gal actic ▁g host b ust ers |
. ▁He ▁felt ▁it ▁" w ould ▁have ▁cost ▁something ▁like ▁$ 2 0 0 ▁million ▁to ▁make ." ▁A yk ro yd ' s ▁original ▁ 7 0 - ▁to ▁ 8 0 - page ▁script ▁treatment ▁was ▁more ▁serious ▁in ▁tone ▁and ▁was ▁intended ▁to ▁be ▁sc ary . ▁It ▁contained ▁the ▁Ghost b ust ers ' ▁logo ▁and ▁elements ▁such ▁as ▁the ▁Marsh m allow ▁Man ▁that ▁were ▁in ▁the ▁finished ▁script . ▁ ▁Re it man ▁met ▁with ▁A yk ro yd ▁over ▁l unch ▁at ▁Art ' s ▁Del ic at essen ▁in ▁Studio ▁City , ▁Los ▁Angeles , ▁and ▁explained ▁to ▁him ▁that ▁his ▁current ▁treatment ▁would ▁be ▁impossible ▁to ▁make . ▁He ▁suggested ▁setting ▁it ▁entirely ▁on ▁Earth ▁would ▁make ▁the ▁extraordinary ▁elements ▁more ▁hum orous . ▁He ▁felt ▁if ▁they ▁focused ▁on ▁real ism ▁from ▁the ▁beginning ▁then ▁the ▁existence ▁of ▁the ▁Marsh m allow ▁Man ▁would ▁be ▁bel iev able ▁by ▁the ▁end . ▁Re it man ▁also ▁conce ived ▁the ▁idea ▁of ▁detail ing ▁the ▁Ghost b ust ers ' ▁orig ins ▁working ▁at ▁a ▁university ▁before ▁starting ▁their ▁business , ▁saying ▁" this ▁was ▁beginning ▁of ▁the ▁ 1 9 8 0 s : ▁everyone ▁was ▁going ▁into ▁business ." ▁Following ▁l unch , ▁Re it man ▁and ▁A yk ro yd ▁walked ▁to ▁Bur bank ▁Studios ▁to ▁meet ▁with ▁Harold ▁Ram is . ▁Re it man ▁had ▁worked ▁with ▁him ▁on ▁Animal ▁House , ▁Me at ball s , ▁and ▁St |
ri pes , ▁and ▁believed ▁he ▁could ▁better ▁execute ▁the ▁tone ▁he ▁intended ▁for ▁the ▁script ▁than ▁A yk ro yd . ▁Re it man ▁also ▁felt ▁Ram is ▁should ▁port ray ▁a ▁g host b uster ; ▁after ▁he ▁read ▁the ▁script ▁Ram is ▁joined ▁the ▁project ▁immediately . ▁ ▁Despite ▁the ▁script ▁requiring ▁considerable ▁changes , ▁Re it man ▁pitch ed ▁the ▁film ▁to ▁then – Col umb ia ▁Pictures ▁executive ▁Frank ▁Price ▁in ▁March ▁ 1 9 8 3 . ▁Price ▁rec ount ed ▁finding ▁the ▁concept ▁fun ny ▁but ▁the ▁project ▁itself ▁controvers ial , ▁as ▁com ed ies ▁were ▁seen ▁to ▁have ▁a ▁ce iling ▁on ▁profit ability . ▁The ▁film ▁would ▁require ▁a ▁big ▁budget ▁due ▁to ▁the ▁special ▁effects ▁and ▁a ▁cast ▁whose ▁fame ▁continued ▁to ▁grow ▁thanks ▁to ▁Saturday ▁Night ▁Live . ▁Re it man ▁said ▁they ▁could ▁work ▁with ▁$ 2 5 – $ 3 0 ▁million ▁( d ifferent ▁figures ▁have ▁been ▁c ited ). ▁Price ▁agreed ▁as ▁long ▁as ▁the ▁film ▁could ▁be ▁released ▁by ▁June ▁ 1 9 8 4 . ▁ ▁Re it man ▁later ▁admitted ▁he ▁made ▁up ▁the ▁figure , ▁bas ing ▁it ▁on ▁three ▁times ▁the ▁budget ▁for ▁St ri pes , ▁which ▁seemed ▁" reason able ." ▁This ▁left ▁th ir teen ▁months ▁to ▁complete ▁the ▁film , ▁with ▁no ▁script , ▁effects ▁studio , ▁or ▁film ing ▁start ▁date . ▁He ▁h ired ▁Joe ▁Med j uck ▁and ▁Michael ▁C . ▁G ross ▁as ▁associate |
▁produ cers , ▁having ▁collabor ated ▁with ▁them ▁previously . ▁Columbia ' s ▁then - CE O ▁F ay ▁Vincent ▁sent ▁his ▁lawyer ▁Dick ▁Gal lop ▁from ▁New ▁York ▁to ▁Los ▁Angeles ▁to ▁conv ince ▁Price ▁not ▁to ▁purs ue ▁the ▁film , ▁but ▁Price ▁disag re ed . ▁Gal lop ▁returned ▁to ▁head ▁office ▁reporting ▁that ▁Price ▁was ▁" out ▁of ▁control ." ▁ ▁Several ▁titles ▁were ▁considered ▁for ▁the ▁film ▁since ▁" G host b ust ers " ▁was ▁leg ally ▁restricted ▁by ▁the ▁ 1 9 7 0 s ▁children ' s ▁show ▁The ▁Ghost ▁B ust ers ▁owned ▁by ▁Universal ▁Studios . ▁Some ▁options ▁included ▁" G host sto ppers ," ▁" G host break ers ," ▁and ▁" G host sm ash ers ." ▁Fort un ately , ▁Price ▁had ▁part ed ▁ways ▁with ▁Columbia ▁early ▁in ▁Ghost b ust ers ▁production ▁and ▁became ▁head ▁of ▁Universal ▁Pictures , ▁at ▁which ▁point ▁he ▁allowed ▁Columbia ▁to ▁have ▁the ▁title . ▁Columbia ▁paid ▁$ 5 0 0 , 0 0 0 ▁plus ▁ 1 % ▁of ▁the ▁film ' s ▁prof its ▁for ▁its ▁use . ▁Given ▁Hollywood ' s ▁account ing ▁practices , ▁however , ▁the ▁film ▁techn ically ▁never ▁made ▁a ▁profit ▁for ▁Universal ▁to ▁be ▁ow ed ▁a ▁payment . ▁ ▁Writing ▁A yk ro yd , ▁Ram is , ▁and ▁Re it man ▁began ▁re working ▁the ▁script , ▁first ▁at ▁Re it man ' s ▁office ▁before ▁se quest ering ▁themselves ▁and ▁their ▁families |
▁on ▁Mar tha ' s ▁V ine yard , ▁Massachusetts . ▁A yk ro yd ▁had ▁a ▁home ▁there , ▁and ▁they ▁worked ▁day ▁and ▁night ▁for ▁about ▁two ▁weeks ▁in ▁his ▁bas ement . ▁He ▁was ▁understanding ▁about ▁the ▁re working ▁of ▁his ▁script . ▁He ▁considered ▁himself ▁a ▁" k itchen ▁sink " ▁writer ▁who ▁created ▁the ▁fun ny ▁situations ▁and ▁par an ormal ▁j arg on , ▁while ▁Ram is ▁ref ined ▁the ▁j okes ▁and ▁dialog ue . ▁They ▁wrote ▁separately ▁and ▁then ▁re w rote ▁each ▁other . ▁Many ▁scenes ▁had ▁to ▁be ▁cut , ▁including ▁an ▁as yl um ▁ha unted ▁by ▁cele brit ies , ▁and ▁an ▁illegal ▁g host ▁storage ▁facility ▁in ▁a ▁New ▁Jersey ▁gas ▁station . ▁Their ▁initial , ▁full ▁script ▁draft ▁was ▁completed ▁when ▁they ▁left ▁the ▁V ine yard ▁in ▁mid - J uly ▁ 1 9 8 3 , ▁with ▁a ▁third ▁and ▁near - final ▁draft ▁ready ▁by ▁early ▁August . ▁When ▁Murray ▁later ▁fle w ▁to ▁New ▁York ▁after ▁the ▁film ing ▁of ▁The ▁Raz or ' s ▁Edge ▁to ▁meet ▁A yk ro yd ▁and ▁Ram is , ▁he ▁offered ▁little ▁input ▁on ▁the ▁script ▁or ▁his ▁character . ▁Having ▁written ▁for ▁Murray ▁multiple ▁times ▁before , ▁Ram is ▁said ▁he ▁knew ▁how ▁to ▁handle ▁his ▁character ' s ▁voice . ▁ ▁It ▁was ▁decided ▁early ▁on ▁that ▁Ram is ' ▁character ▁would ▁be ▁the ▁bra ins ▁of ▁the ▁Ghost b ust ers , ▁A yk ro |
yd ' s ▁was ▁the ▁heart , ▁and ▁Murray ' s ▁was ▁the ▁mouth . ▁A yk ro yd ▁drew ▁insp iration ▁from ▁Hollywood ▁arch et ypes , ▁he ▁said : ▁" Put ▁[ the ▁characters ▁of ▁Peter ▁V enk man , ▁Raymond ▁St ant z , ▁and ▁Eg on ▁Sp eng ler ▁together , ▁and ▁you ▁have ▁the ▁Sc are c row , ▁the ▁Lion , ▁and ▁the ▁T in ▁Man ." ▁A yk ro yd ' s ▁concept ▁called ▁for ▁the ▁Ghost b ust ers ▁to ▁have ▁a ▁b oss ▁and ▁be ▁directed ▁into ▁situations . ▁Ram is ▁preferred ▁they ▁be ▁in ▁control ▁" of ▁their ▁own ▁dest iny " ▁and ▁make ▁their ▁own ▁choices . ▁This ▁led ▁to ▁the ▁development ▁of ▁more ▁distinct ▁ident ities ▁for ▁the ▁three ▁central ▁characters : ▁Murray ▁as ▁the ▁cool , ▁modern ▁sales man ; ▁A yk ro yd ▁as ▁the ▁honest , ▁enthus i astic ▁techn ician ; ▁and ▁Ram is ▁as ▁the ▁intellig ent , ▁fact ual , ▁and ▁em otion less ▁Eg on . ▁Ram is ▁was ▁inspired ▁by ▁the ▁cover ▁of ▁a ▁journal ▁on ▁abstract ▁architecture ▁for ▁Eg on ' s ▁appearance . ▁It ▁featured ▁a ▁man ▁we aring ▁a ▁three - pie ce ▁twe ed ▁suit , ▁wire - rim ▁glass es , ▁with ▁his ▁hair ▁standing ▁straight ▁up . ▁He ▁took ▁the ▁character ' s ▁first ▁name ▁from ▁a ▁Hung arian ▁refuge e ▁he ▁attended ▁school ▁with ▁and ▁the ▁surname ▁of ▁historian ▁O sw ald ▁Sp eng ler . |
▁ ▁The ▁most ▁difficult ▁part ▁of ▁the ▁writing ▁was ▁determ ining ▁the ▁story ' s ▁goal , ▁who ▁the ▁villa in ▁was ▁and ▁their ▁goal , ▁why ▁g hosts ▁were ▁manifest ing , ▁and ▁how ▁a ▁tower ing ▁Marsh m allow ▁Man ▁appeared . ▁The ▁Marsh m allow ▁Man ▁was ▁one ▁of ▁many ▁elaborate ▁cre atures ▁in ▁A yk ro yd ' s ▁initial ▁treatment , ▁originally ▁intended ▁to ▁emer ge ▁from ▁the ▁East ▁River ▁only ▁twenty ▁minutes ▁into ▁the ▁film . ▁It ▁stood ▁out ▁to ▁Re it man ▁but ▁concerned ▁him ▁because ▁of ▁the ▁relatively ▁real istic ▁tone ▁they ▁were ▁taking . ▁While ▁this ▁process ▁was ▁occurr ing , ▁Re it man ▁was ▁searching ▁for ▁a ▁special ▁effects ▁studio ▁for ▁the ▁film , ▁eventually ▁rec ruit ing ▁Richard ▁Ed l und ▁in ▁the ▁same ▁two - week ▁span . ▁ ▁Cast ing ▁ ▁Cast ing ▁Bill ▁Murray ▁was ▁considered ▁essential ▁to ▁Ghost b ust ers ▁potential ▁success , ▁but ▁he ▁was ▁known ▁for ▁not ▁comm itting ▁to ▁projects ▁until ▁the ▁last ▁minute . ▁Price ▁agreed ▁to ▁fund ▁The ▁Raz or ' s ▁Edge ▁( 1 9 8 4 ), ▁which ▁Murray ▁had ▁co - written ▁and ▁was ▁st arring ▁in . ▁His ▁r ationale ▁was ▁that ▁if ▁it ▁failed ▁it ▁would ▁lose ▁very ▁little ▁money , ▁but ▁he ▁hoped ▁the ▁gesture ▁would ▁secure ▁Murray ' s ▁commit ment ▁to ▁Ghost b ust ers . ▁A part ▁from ▁the ▁three ▁main ▁stars , ▁Joe ▁Med j uck ▁was ▁largely ▁responsible ▁for ▁casting ▁the |
▁other ▁roles . ▁Er nie ▁Hudson ▁went ▁through ▁about ▁five ▁aud itions ▁for ▁the ▁character ▁of ▁W inst on ▁Z ed dem ore , ▁and ▁had ▁to ▁wait ▁a ▁month ▁before ▁learning ▁he ▁had ▁the ▁part . ▁According ▁to ▁him , ▁in ▁an ▁earlier ▁version ▁of ▁the ▁script ▁his ▁character , ▁W inst on , ▁had ▁a ▁larger ▁role ▁as ▁an ▁Air ▁Force ▁demol itions ▁expert ▁with ▁an ▁elaborate ▁back story . ▁Ex c ited ▁by ▁the ▁part , ▁he ▁agreed ▁to ▁the ▁job ▁for ▁half ▁his ▁usual ▁sal ary . ▁The ▁night ▁before ▁shooting ▁began , ▁he ▁was ▁given ▁a ▁new ▁script ▁with ▁a ▁greatly ▁reduced ▁role ; ▁Re it man ▁told ▁him ▁the ▁studio ▁wanted ▁to ▁expand ▁Murray ' s ▁part . ▁A yk ro yd ▁has ▁said ▁he ▁wanted ▁Edd ie ▁Mur phy ▁for ▁the ▁role , ▁having ▁worked ▁with ▁him ▁on ▁Tr ading ▁Places ▁( 1 9 8 3 ), ▁although ▁Re it man ▁ref uted ▁this . ▁Gregory ▁H ines ▁was ▁also ▁considered ▁for ▁the ▁part . ▁ ▁Julia ▁Roberts ▁aud ition ed ▁for ▁the ▁role ▁of ▁D ana ▁Bar rett , ▁but ▁it ▁was ▁Sig our ney ▁We aver ▁who ▁attract ed ▁the ▁film m akers ' ▁attention . ▁There ▁was ▁some ▁resistance ▁to ▁casting ▁her ▁because ▁of ▁the ▁generally ▁serious ▁roles ▁she ▁played ▁in ▁Ali en ▁( 1 9 7 9 ) ▁and ▁The ▁Year ▁of ▁Living ▁D anger ously ▁( 1 9 8 2 ). ▁We aver ▁revealed ▁her ▁com edic ▁background , ▁developed ▁at |
▁the ▁Y ale ▁School ▁of ▁D rama , ▁and ▁began ▁walking ▁on ▁all ▁f ours ▁and ▁how ling ▁like ▁a ▁dog . ▁It ▁was ▁her ▁suggestion ▁that ▁D ana ▁become ▁possessed ▁by ▁the ▁demon ic ▁dog , ▁Zu ul . ▁Re it man ▁said ▁this ▁solved ▁issues ▁with ▁the ▁last ▁act ▁by ▁giving ▁the ▁characters ▁personal ▁st akes ▁in ▁the ▁events . ▁We aver ▁also ▁changed ▁the ▁role ▁from ▁that ▁of ▁a ▁model ▁to ▁a ▁music ian , ▁saying ▁she ▁can ▁be ▁kind ▁of ▁strict , ▁but ▁" you ▁know ▁she ▁has ▁a ▁soul ▁because ▁she ▁plays ▁the ▁c ello ." ▁ ▁John ▁C andy ▁was ▁offered ▁the ▁role ▁of ▁Louis ▁Tul ly . ▁Re it man ▁re called ▁it ▁was ▁a ▁few ▁days ▁before ▁C andy ▁called ▁him ▁back ▁to ▁say ▁he ▁did ▁not ▁understand ▁the ▁character . ▁C andy ▁suggested ▁port ray ing ▁Tul ly ▁with ▁a ▁German ▁acc ent ▁and ▁multiple ▁German ▁She ph erd s , ▁but ▁the ▁film m akers ▁felt ▁there ▁were ▁already ▁enough ▁dogs ▁in ▁the ▁film . ▁They ▁and ▁C andy ▁passed ▁on ▁the ▁casting . ▁Re it man ▁was ▁already ▁aware ▁of ▁Rick ▁Mor an is ▁from ▁their ▁work ▁together ▁in ▁Toronto ▁and ▁sent ▁him ▁the ▁script . ▁He ▁called ▁Re it man ▁back ▁about ▁an ▁hour ▁later ▁and ▁accepted ▁the ▁part , ▁saying ▁he ▁understood ▁the ▁character ▁completely . ▁Mor an is ▁developed ▁many ▁aspects ▁of ▁his ▁character , ▁including ▁making ▁him ▁an ▁account ant , ▁and ▁ad - li bb ed ▁the |
▁length y ▁speech ▁at ▁Tul ly ' s ▁party . ▁Sand ra ▁Bern hard ▁was ▁offered ▁and ▁turned ▁down ▁the ▁role ▁of ▁Ghost b ust ers ' ▁secretary ▁Jan ine ▁M eln itz , ▁which ▁went ▁to ▁An nie ▁Pot ts . ▁As ▁she ▁arrived ▁for ▁her ▁first ▁day ▁of ▁film ing , ▁Re it man ▁r ushed ▁Pot ts ▁into ▁the ▁current ▁scene . ▁She ▁quickly ▁changed ▁out ▁of ▁her ▁street ▁clothes ▁and ▁borrow ed ▁a ▁pair ▁of ▁glass es ▁worn ▁by ▁the ▁set ▁dress er . ▁Her ▁character ▁ended ▁up ▁we aring ▁the ▁glass es ▁throughout ▁the ▁film , ▁provided ▁to ▁her ▁by ▁the ▁dress er ▁before ▁each ▁scene . ▁ ▁William ▁A ther ton ▁was ▁chosen ▁for ▁the ▁role ▁of ▁Walter ▁Pe ck ▁after ▁appearing ▁in ▁the ▁Broadway ▁play ▁Broadway ▁alongside ▁SN L ▁al um na ▁G ilda ▁Rad ner . ▁The ▁role ▁was ▁described ▁to ▁A ther ton ▁as ▁a kin ▁to ▁Margaret ▁Dum ont ' s ▁role ▁as ▁a ▁com edic ▁fo il ▁to ▁the ▁Marx ▁Brothers . ▁A ther ton ▁said , ▁" It ▁can ’ t ▁be ▁fun ny , ▁and ▁I ▁don ’ t ▁find ▁[ the ▁Ghost b ust ers ] ▁in ▁the ▁least ▁bit ▁char ming . ▁I ▁have ▁to ▁be ▁out rag ed ." ▁The ▁role ▁of ▁the ▁S umer ian ▁god ▁G oz er ▁the ▁G oz er ian ▁was ▁originally ▁intended ▁for ▁Paul ▁Re ub ens , ▁en vision ed ▁as ▁a ▁business - su ited ▁architect . ▁Re ub |
ens ▁passed ▁on ▁the ▁idea , ▁and ▁it ▁went ▁to ▁Y ug oslav ian ▁actress ▁S lav itza ▁J ovan . ▁The ▁role ▁changed ▁to ▁one ▁inspired ▁by ▁the ▁and rog yn ous ▁looks ▁of ▁Grace ▁Jones ▁and ▁David ▁B owie . ▁P add i ▁Edwards ▁was ▁un cred ited ▁as ▁the ▁voice ▁of ▁G oz er , ▁dub bing ▁over ▁J ovan ' s ▁strong ▁S lav ic ▁acc ent . ▁ ▁Fil ming ▁ ▁Princi pal ▁phot ography ▁began ▁in ▁New ▁York ▁City ▁on ▁October ▁ 2 8 , ▁ 1 9 8 3 , ▁on ▁a ▁budget ▁of ▁approximately ▁$ 2 5 – $ 3 0 ▁million . ▁During ▁the ▁first ▁day , ▁Re it man ▁brought ▁Murray ▁to ▁the ▁set , ▁still ▁uns ure ▁if ▁he ▁had ▁read ▁the ▁script . ▁On ▁a ▁separate ▁day , ▁the ▁crew ▁drove ▁around ▁the ▁city ▁film ing ▁sp ont aneous ▁scenes ▁at ▁icon ic ▁locations , ▁including ▁one ▁shot ▁at ▁Rock ef eller ▁Center ▁where ▁the ▁actors ▁were ▁ch ased ▁off ▁by ▁a ▁real ▁security ▁guard ; ▁it ▁appears ▁in ▁the ▁film . ▁A ▁scene ▁was ▁shot ▁in ▁Central ▁Park ▁West ▁with ▁ex tras ▁chant ing ▁" G host b ust ers " ▁before ▁the ▁name ▁had ▁been ▁cleared . ▁This ▁prompt ed ▁associate ▁producer ▁Joe ▁Med j uck ▁to ▁contact ▁the ▁studio ▁ur ging ▁them ▁to ▁secure ▁permission ▁to ▁use ▁the ▁word ▁as ▁the ▁title . ▁As ▁Re it man ▁was ▁working ▁with ▁com ed ians , ▁he ▁encourag ed ▁impro |
vis ation , ▁adapt ing ▁multiple ▁takes ▁to ▁keep ▁cast ▁inser ts ▁that ▁worked , ▁but ▁direct ing ▁them ▁back ▁to ▁the ▁script . ▁ ▁Fil ming ▁on ▁location ▁in ▁New ▁York ▁last ed ▁for ▁about ▁six ▁weeks , ▁finishing ▁just ▁before ▁Christmas . ▁Re it man ▁was ▁conscious ▁they ▁had ▁to ▁complete ▁the ▁New ▁York ▁phase ▁before ▁they ▁encountered ▁in h osp itable ▁weather ▁in ▁December . ▁At ▁the ▁time , ▁choosing ▁to ▁shoot ▁in ▁New ▁York ▁City ▁was ▁considered ▁ris ky . ▁In ▁the ▁early ▁ 1 9 8 0 s , ▁many ▁saw ▁the ▁city ▁as ▁syn onymous ▁with ▁fis cal ▁dis aster ▁and ▁violence , ▁and ▁Los ▁Angeles ▁was ▁seen ▁as ▁the ▁center ▁of ▁the ▁entertain ment ▁industry . ▁In ▁a ▁ 2 0 1 4 ▁interview , ▁Re it man ▁said ▁he ▁chose ▁New ▁York ▁because ▁" I ▁wanted ▁the ▁film ▁to ▁be … my ▁New ▁York ▁movie ." ▁ ▁The ▁building ▁at ▁ 5 5 ▁Central ▁Park ▁West ▁served ▁as ▁the ▁home ▁of ▁We aver ' s ▁character ▁and ▁the ▁setting ▁of ▁the ▁Ghost b ust ers ' ▁clim actic ▁battle ▁with ▁G oz er . ▁The ▁art ▁department ▁added ▁extra ▁flo ors ▁and ▁emb ell ish ments ▁using ▁mat te ▁paint ings , ▁models , ▁and ▁digital ▁effects ▁to ▁create ▁the ▁foc al ▁point ▁of ▁g host ly ▁activity . ▁During ▁shooting ▁of ▁the ▁final ▁scene ▁at ▁the ▁building , ▁city ▁officials ▁allowed ▁the ▁production ▁to ▁close ▁down ▁the ▁adjacent ▁streets ▁during ▁r ush ▁hour . |
▁This ▁impact ed ▁traffic ▁across ▁a ▁large ▁sw ath ▁of ▁the ▁city . ▁G ross ▁remarked ▁that , ▁from ▁the ▁top ▁of ▁the ▁building , ▁they ▁could ▁see ▁traffic ▁que uing ▁all ▁the ▁way ▁to ▁Brook lyn . ▁At ▁various ▁points , ▁a ▁police ▁officer ▁drew ▁his ▁gun ▁on ▁a ▁tax i ▁driver ▁who ▁refused ▁orders ; ▁in ▁a ▁similar ▁incident , ▁another ▁officer ▁pulled ▁a ▁driver ▁through ▁his ▁lim o ▁window . ▁When ▁angry ▁citizens ▁asked ▁Med j uck ▁what ▁was ▁film ing , ▁he ▁bl amed ▁Francis ▁Ford ▁Co pp ola ▁film ing ▁The ▁Cot ton ▁Club . ▁A yk ro yd ▁encountered ▁science - f iction ▁writer ▁Isaac ▁As im ov , ▁a ▁man ▁he ▁adm ired , ▁who ▁compla ined : ▁" You ▁guys ▁are ▁incon ven ien cing ▁this ▁building , ▁it ' s ▁just ▁awful ; ▁I ▁don ' t ▁know ▁how ▁they ▁got ▁away ▁with ▁this !" ▁Direct ly ▁next ▁to ▁ 5 5 ▁Central ▁Park ▁West ▁is ▁the ▁Holy ▁Tr inity ▁Luther an ▁Church , ▁which ▁is ▁stepped ▁on ▁by ▁the ▁Marsh m allow ▁Man . ▁ ▁Other ▁locations ▁included ▁New ▁York ▁City ▁Hall , ▁the ▁New ▁York ▁Public ▁Library , ▁the ▁Lincoln ▁Center ▁for ▁the ▁Perform ing ▁Arts , ▁Ta vern ▁on ▁the ▁Green ▁( where ▁Louis ▁is ▁corner ed ▁by ▁the ▁demon ic ▁dog ), ▁Columb us ▁Circle , ▁and ▁Fire house , ▁Hook ▁& ▁Lad der ▁Company ▁ 8 ▁in ▁the ▁Trib eca ▁neighborhood ▁used ▁as ▁the ▁Ghost b ust ers ' |
▁headquarters . ▁Columbia ▁University ▁allowed ▁its ▁Hav em ey er ▁Hall ▁to ▁stand ▁in ▁for ▁the ▁fict ional ▁We aver ▁Hall , ▁on ▁the ▁condition ▁the ▁university ▁not ▁be ▁identified ▁by ▁name . ▁The ▁Ir ving ▁Trust ▁Bank ▁on ▁Fif th ▁Avenue ▁served ▁as ▁the ▁bank ▁where ▁A yk ro yd ' s ▁character ▁takes ▁out ▁a ▁third ▁mort g age ▁to ▁provide ▁the ▁Ghost b ust ers ' ▁startup ▁money . ▁ ▁Fil ming ▁moved ▁to ▁Los ▁Angeles , ▁res uming ▁just ▁after ▁Christmas ▁and ▁before ▁the ▁New ▁Year . ▁Despite ▁its ▁New ▁York ▁City ▁setting , ▁most ▁of ▁Ghost b ust ers ▁was ▁fil med ▁on ▁location ▁in ▁Los ▁Angeles ▁or ▁on ▁sets ▁at ▁the ▁Bur bank ▁Studios . ▁Location ▁sc outs ▁searched ▁for ▁buildings ▁that ▁could ▁rep licate ▁the ▁inter iors ▁of ▁buildings ▁being ▁fil med ▁in ▁New ▁York . ▁Re it man ▁tried ▁using ▁the ▁interior ▁of ▁Hook ▁& ▁Lad der ▁ 8 , ▁but ▁was ▁unable ▁to ▁take ▁it ▁over ▁long ▁enough ▁because ▁it ▁was ▁an ▁active ▁fire ▁station . ▁Inter ior ▁fire house ▁sh ots ▁were ▁taken ▁instead ▁at ▁the ▁de comm ission ed ▁Fire ▁House ▁No . ▁ 2 3 ▁in ▁dow nt own ▁Los ▁Angeles . ▁The ▁building ▁design , ▁while ▁common ▁in ▁New ▁York , ▁was ▁a ▁r ar ity ▁in ▁Los ▁Angeles . ▁An ▁arch ival ▁photograph ▁of ▁an ▁active ▁crew ▁in ▁Fire ▁House ▁No . ▁ 2 3 ▁from ▁ 1 9 1 5 ▁was ▁hung ▁in ▁the ▁background ▁of ▁the ▁Ghost |
b ust ers ' ▁office ▁and ▁appeared ▁in ▁the ▁film . ▁ ▁As ▁the ▁film ▁used ▁practical ▁effects , ▁they ▁needed ▁sk illed ▁techn icians ▁who ▁res ided ▁mainly ▁in ▁the ▁city , ▁and ▁sound st ages ▁that , ▁at ▁the ▁time , ▁were ▁non - ex istent ▁in ▁New ▁York . ▁While ▁film ing ▁took ▁place ▁in ▁the ▁main ▁reading ▁room ▁of ▁the ▁New ▁York ▁Public ▁Library ▁( they ▁could ▁only ▁film ▁early ▁and ▁had ▁to ▁be ▁out ▁by ▁ 1 0 : 0 0 am ), ▁the ▁bas ement ▁library ▁stack s ▁were ▁represented ▁by ▁the ▁Los ▁Angeles ▁Central ▁Library ▁as ▁Re it man ▁said ▁they ▁were ▁inter change able . ▁The ▁stack s ▁were ▁destroyed ▁in ▁a ▁ 1 9 8 6 ▁fire , ▁and ▁the ▁area ▁now ▁serves ▁as ▁space ▁for ▁storage ▁and ▁sh ipping . ▁The ▁Mill en ni um ▁B ilt more ▁Hotel ▁stood ▁in ▁for ▁the ▁scenes ▁set ▁at ▁New ▁York ' s ▁Wald orf - A st oria ▁hotel . ▁Princi pal ▁phot ography ▁concluded ▁at ▁the ▁end ▁of ▁January ▁ 1 9 8 4 , ▁after ▁between ▁ 5 5 ▁and ▁ 6 2 ▁days ▁of ▁film ing . ▁ ▁Post - production ▁The ▁short ▁production ▁schedule ▁and ▁lo oming ▁June ▁ 8 , ▁ 1 9 8 4 , ▁release ▁date ▁meant ▁that ▁Re it man ▁was ▁editing ▁the ▁film ▁while ▁shooting ▁it . ▁There ▁was ▁often ▁time ▁for ▁only ▁a ▁few ▁takes . ▁Re it man ▁sometimes ▁found ▁film ing ▁an |
▁effects - lad en ▁film ▁fr ustr ating , ▁as ▁the ▁special ▁effects ▁had ▁to ▁be ▁story board ed ▁and ▁fil med ▁in ▁advance ; ▁there ▁was ▁no ▁option ▁to ▁go ▁back ▁and ▁film ▁new ▁scenes . ▁As ▁G ross ▁described ▁it : ▁"[ Y ] ou ▁story board ▁in ▁advance , ▁that ' s ▁like ▁editing ▁in ▁advance . ▁You ' ve ▁got ▁a ▁scene , ▁they ' re ▁going ▁to ▁appro ve ▁that ▁scene , ▁and ▁we ' re ▁going ▁to ▁spend ▁nine ▁months ▁doing ▁that ▁cut . ▁There ' s ▁no ▁second ▁takes , ▁no ▁out t akes , ▁there ' s ▁no ▁coverage . ▁You ▁can ▁cut ▁stuff , ▁but ▁you ▁can ' t ▁add ▁stuff . ▁It ▁made ▁him ▁( Re it man ) ▁so ▁conf ined ▁that ▁it ▁really ▁bother ed ▁him ." ▁ ▁One ▁of ▁the ▁deleted ▁scenes ▁involved ▁a ▁segment ▁at ▁" F ort ▁Det mer ring " ▁where ▁A yk ro yd ' s ▁Ray ▁has ▁a ▁sexual ▁encounter ▁with ▁a ▁female ▁g host . ▁The ▁scene ▁was ▁intended ▁to ▁introduce ▁a ▁love ▁interest ▁for ▁A yk ro yd . ▁The ▁feeling ▁was ▁it ▁was ▁extr aneous ▁to ▁the ▁fast - mov ing ▁plot , ▁however , ▁so ▁Re it man ▁used ▁the ▁foot age ▁as ▁a ▁dream ▁sequence ▁during ▁the ▁mid - film ▁mont age ▁instead . ▁Editor ▁Sh eld on ▁K ahn ▁sent ▁Re it man ▁black - and - white ▁re els ▁of ▁sequences ▁during ▁film ing . ▁They ▁not ▁only |
▁allowed ▁him ▁to ▁make ▁changes , ▁but ▁he ▁considered ▁they ▁also ▁helped ▁him ▁understand ▁how ▁to ▁better ▁pace ▁the ▁film . ▁K ahn ▁completed ▁the ▁first ▁full ▁cut ▁of ▁the ▁film ▁three ▁weeks ▁after ▁film ing ▁concluded . ▁ ▁Music ▁ ▁The ▁Ghost b ust ers ▁score ▁was ▁composed ▁by ▁El mer ▁Bern stein ▁and ▁performed ▁by ▁the ▁ 7 2 - person ▁Hollywood ▁Studio ▁Sym phony ▁or chestra ▁at ▁The ▁Village ▁in ▁West ▁Los ▁Angeles , ▁California . ▁It ▁was ▁orch estr ated ▁by ▁Bern stein ' s ▁son ▁Peter ▁and ▁David ▁Spe ar . ▁Bern stein ▁had ▁previously ▁scored ▁several ▁of ▁Re it man ' s ▁films ▁including ▁Animal ▁House ▁and ▁Me at ball s . ▁He ▁was ▁h ired ▁before ▁film ing ▁had ▁begun ▁or ▁all ▁the ▁cast ▁had ▁been ▁signed . ▁Re it man ▁wanted ▁a ▁ground ed , ▁real istic ▁score . ▁He ▁did ▁not ▁want ▁the ▁music ▁to ▁tell ▁the ▁audience ▁when ▁something ▁was ▁fun ny . ▁Bern stein ▁used ▁the ▁on des ▁Mart en ot ▁( effect ively ▁a ▁keyboard ▁equivalent ▁of ▁a ▁th erem in ) ▁to ▁produce ▁the ▁" e erie " ▁effect . ▁Bern stein ▁had ▁to ▁bring ▁a ▁music ian ▁from ▁England ▁to ▁play ▁the ▁instrument ▁because ▁there ▁were ▁so ▁few ▁trained ▁on d ists . ▁He ▁also ▁used ▁three ▁Yam aha ▁D X 7 ▁synth es izers . ▁In ▁a ▁ 1 9 8 5 ▁interview ▁Bern stein ▁described ▁Ghost b ust ers ▁as ▁the ▁most ▁difficult ▁score ▁he ▁had ▁written |
. ▁He ▁found ▁it ▁a ▁challenge ▁to ▁balance ▁the ▁film ' s ▁varying ▁com edic ▁and ▁serious ▁t ones . ▁He ▁created ▁an ▁" antic " ▁theme ▁for ▁the ▁Ghost b ust ers ▁he ▁described ▁as ▁" c ute , ▁without ▁being ▁really ▁way ▁out ." ▁He ▁found ▁the ▁latter ▁parts ▁of ▁the ▁film ▁easier ▁to ▁score , ▁aim ing ▁to ▁make ▁it ▁sound ▁" aw esome ▁and ▁myst ical ." ▁ ▁Early ▁on ▁Re it man ▁and ▁Bern stein ▁discussed ▁the ▁idea ▁that ▁Ghost b ust ers ▁would ▁feature ▁popular ▁music ▁at ▁specific ▁points ▁as ▁well ▁as ▁Bern stein ' s ▁original ▁score . ▁This ▁included ▁" Mag ic " ▁by ▁M ick ▁Sm iley ▁( play ed ▁during ▁the ▁scene ▁when ▁the ▁g hosts ▁are ▁released ▁from ▁the ▁Ghost b ust ers ▁headquarters . ▁Bern stein ' s ▁main ▁theme ▁for ▁the ▁Ghost b ust ers ▁was ▁later ▁replaced ▁by ▁Ray ▁Parker ▁Jr .' s ▁" G host b ust ers ." ▁Bern stein ▁personally ▁dis lik ed ▁the ▁use ▁of ▁these ▁songs , ▁particularly ▁" Mag ic ", ▁but ▁said ▁" it ’ s ▁very ▁hard ▁to ▁argue ▁with ▁something ▁like ▁[" G host b ust ers "], ▁when ▁it ▁is ▁up ▁in ▁the ▁top ▁ten ▁on ▁the ▁charts ." ▁ ▁Music ▁was ▁required ▁for ▁a ▁mont age ▁in ▁the ▁middle ▁of ▁the ▁film , ▁and ▁" I ▁W ant ▁a ▁New ▁D rug " ▁by ▁H ue y ▁Lewis ▁and ▁the ▁News ▁was ▁used ▁as ▁a ▁temporary ▁placeholder ▁because |
▁of ▁its ▁appropriate ▁tempo . ▁Re it man ▁was ▁later ▁introduced ▁to ▁Parker ▁Jr . ▁who ▁developed ▁" G host b ust ers " ▁with ▁a ▁similar ▁r iff ▁to ▁match ▁the ▁mont age . ▁There ▁were ▁approximately ▁ 5 0 – 6 0 ▁different ▁theme ▁songs ▁developed ▁for ▁Ghost b ust ers ▁by ▁different ▁artists ▁before ▁Parker ▁Jr .' s ▁invol vement , ▁though ▁none ▁were ▁de emed ▁suitable . ▁Lewis ▁was ▁approached ▁to ▁compose ▁the ▁film ' s ▁theme , ▁but ▁was ▁already ▁committed ▁to ▁work ▁on ▁Back ▁to ▁the ▁Future ▁( 1 9 8 5 ). ▁ ▁Design ▁During ▁the ▁film ' s ▁th ir teen - month ▁production , ▁all ▁the ▁major ▁special ▁effects ▁stud ios ▁were ▁working ▁on ▁other ▁films . ▁The ▁largest , ▁Indust rial ▁Light ▁& ▁Magic ▁( IL M ), ▁had ▁been ▁book ed ▁for ▁Indiana ▁Jones ▁and ▁the ▁Temple ▁of ▁Do om ▁( 1 9 8 4 ) ▁and ▁Return ▁of ▁the ▁J edi ▁( 1 9 8 3 ). ▁The ▁remaining ▁stud ios ▁were ▁too ▁small ▁to ▁work ▁on ▁the ▁approximately ▁ 6 3 0 ▁individual ▁effects ▁sh ots ▁needed ▁for ▁Ghost b ust ers . ▁At ▁the ▁same ▁time , ▁special ▁effects ▁cinemat ograph er ▁Richard ▁Ed l und ▁planned ▁to ▁leave ▁IL M ▁and ▁start ▁his ▁own ▁business . ▁Re it man ▁convinced ▁Columbia ▁to ▁collabor ate ▁with ▁Metro - G old w yn - M ayer ▁( M GM ), ▁which ▁also ▁needed ▁an ▁effects ▁studio , ▁to ▁advance ▁Ed |
l und ▁$ 5 ▁million ▁to ▁start ▁his ▁own ▁company , ▁B oss ▁Film ▁Studios , ▁and ▁purchase ▁the ▁necessary ▁equipment . ▁According ▁to ▁Ed l und , ▁law y ers ▁used ▁much ▁of ▁the ▁setup ▁time ▁final izing ▁the ▁contract , ▁leaving ▁only ▁ten ▁months ▁remaining ▁to ▁build ▁the ▁effects ▁studio , ▁shoot ▁the ▁scenes ▁and ▁composite ▁the ▁images . ▁The ▁B oss ▁Film ▁Studios ' ▁team ▁were ▁split ▁to ▁complete ▁work ▁on ▁Ghost b ust ers ▁and ▁M GM ' s ▁science - f iction ▁film ▁ 2 0 1 0 . ▁The ▁$ 5 ▁million ▁effects ▁came ▁in ▁at ▁$ 7 0 0 , 0 0 0 ▁over ▁budget . ▁The ▁strict ▁film ing ▁schedule ▁meant ▁most ▁of ▁the ▁effects ▁sh ots ▁were ▁done ▁in ▁one ▁take . ▁G ross ▁o vers aw ▁both ▁the ▁creation ▁of ▁B oss ▁Film ▁Studios , ▁and ▁the ▁h iring ▁of ▁many ▁concept ual ▁artists ▁including ▁com ic ▁book ▁artists ▁Tan ino ▁Liber atore ▁( wh ose ▁work ▁went ▁un used ) ▁and ▁Bern ie ▁Wright son ▁( who ▁helped ▁conce ive ▁several ▁g host ▁designs ), ▁and ▁story board ▁artist ▁Thom ▁En rique z , ▁whose ▁designs ▁contributed ▁to ▁the ▁" On ion ▁Head ▁g host ." ▁ ▁Cre ature ▁effects ▁ ▁Ed l und ▁previously ▁worked ▁on ▁the ▁super natural ▁horror ▁film ▁Pol ter ge ist ▁( 1 9 8 2 ). ▁It ▁served ▁as ▁a ▁reference ▁for ▁the ▁g host ▁designs ▁in ▁Ghost b ust ers . ▁G ross ▁said ▁it |
▁was ▁difficult ▁to ▁balance ▁making ▁the ▁g hosts ▁seem ▁like ▁a ▁genu ine ▁threat ▁while ▁fitting ▁the ▁film ' s ▁more ▁com edic ▁tone . ▁Special ▁effects ▁artist ▁Steve ▁Johnson ▁sculpt ed ▁the ▁gl utton ous , ▁sl im y , ▁green ▁g host ▁then ▁known ▁only ▁as ▁the ▁" On ion ▁Head ▁g host " ▁on ▁set ▁due ▁to ▁the ▁pu ppet ' s ▁un ple asant ▁sm ell . ▁Now ▁commonly ▁known ▁as ▁" S lim er ," ▁it ▁was ▁not ▁called ▁that ▁until ▁after ▁the ▁film ' s ▁release ▁when ▁it ▁was ▁given ▁the ▁name ▁in ▁ 1 9 8 6 ' s ▁The ▁Real ▁Ghost b ust ers . ▁The ▁S lim er ▁design ▁took ▁six ▁months , ▁and ▁approximately ▁$ 3 0 0 , 0 0 0 ▁to ▁develop . ▁It ▁went ▁through ▁many ▁variations , ▁which ▁Johnson ▁bl amed ▁on ▁executive ▁inter ference ▁through ▁mic rom an agement , ▁constant ▁adjust ments ▁and ▁conflic ting ▁notes ▁on ▁how ▁to ▁modify ▁each ▁detail . ▁He ▁said : ▁" In ▁the ▁beginning ▁they ▁asked ▁for ▁a ▁' sm ile ▁with ▁arms ' ▁but ▁before ▁I ▁knew ▁it … ▁' g ive ▁him ▁ 1 3 % ▁more ▁path os , ▁put ▁ears ▁on ▁him , ▁take ▁his ▁ears ▁off , ▁less ▁path os , ▁more ▁path os , ▁make ▁his ▁nose ▁bigger , ▁now ▁his ▁nose ▁is ▁too ▁big , ▁make ▁his ▁nose ▁smaller … ▁Make ▁him ▁more ▁cart o ony , ▁make ▁him ▁less ▁cart o |
ony ." ▁ ▁The ▁day ▁before ▁his ▁dead line , ▁Johnson ▁learned ▁A yk ro yd ▁and ▁Ram is ▁had ▁wanted ▁S lim er ▁to ▁be ▁an ▁hom age ▁to ▁John ▁Bel ush i ' s ▁li ken ess . ▁With ▁that ▁information ▁and ▁a ▁series ▁of ▁Bel ush i ▁head sh ots , ▁Johnson ▁took ▁at ▁least ▁three ▁gr ams ▁of ▁c oca ine ▁and ▁believed ▁that ▁Bel ush i ' s ▁g host ▁was ▁visit ing ▁him ▁to ▁provide ▁encourag ement . ▁It ▁was ▁during ▁this ▁episode ▁that ▁he ▁sculpt ed ▁the ▁final ▁S lim er ▁design ▁that ▁appears ▁in ▁the ▁film . ▁A yk ro yd ▁admitted ▁the ▁character ▁was ▁inspired ▁by ▁Bel ush i , ▁particularly ▁his ▁body . ▁Ram is ▁said ▁the ▁comparison ▁was ▁not ▁mal icious , ▁explaining ▁that ▁Bel ush i ▁was ▁the ▁person ▁most ▁likely ▁trip ▁over ▁a ▁coffee ▁table ▁and ▁knock ▁a ▁book case ▁over . ▁The ▁model ▁had ▁three ▁inter change able ▁faces ▁for ▁larger ▁expressions , ▁while ▁smaller ▁features ▁like ▁bl inking ▁were ▁controlled ▁by ▁c ables ▁and ▁ro ds ▁by ▁a ▁team ▁of ▁pu pp ete ers . ▁Sm aller , ▁egg - size ▁models ▁were ▁made ▁for ▁less ▁animated ▁movements ▁like ▁flying ▁around ▁the ▁ce iling ▁of ▁the ▁S edge wick ▁Hotel ▁ball room . ▁The ▁full - size ▁S lim er ▁pu ppet ▁was ▁performed ▁by ▁Mark ▁Wilson , ▁who ▁wore ▁the ▁fo am ▁rub ber ▁suit ▁rein for ced ▁with ▁span dex ▁while ▁being ▁fil med ▁against ▁a |
▁black ▁background . ▁As ▁Wilson ' s ▁movement ▁was ▁restricted ▁by ▁the ▁pu ppet ' s ▁c ables , ▁the ▁camera ▁was ▁moved ▁around ▁him ▁to ▁simulate ▁movement . ▁ ▁A yk ro yd ▁task ed ▁his ▁friend , ▁referred ▁to ▁as ▁the ▁Vik ing , ▁with ▁design ing ▁the ▁Marsh m allow ▁Man , ▁asking ▁for ▁a ▁combination ▁of ▁the ▁Michel in ▁Man ▁and ▁the ▁P ills bury ▁D ough boy ▁in ▁a ▁sail or ▁hat . ▁The ▁Marsh m allow ▁Man ▁was ▁fabric ated ▁and ▁port rayed ▁by ▁actor ▁and ▁special ▁effects ▁artist ▁Bill ▁Bry an , ▁who ▁mode led ▁his ▁walk ▁on ▁God z illa . ▁There ▁were ▁eigh teen ▁fo am ▁su its , ▁each ▁cost ing ▁between ▁$ 2 5 , 0 0 0 ▁and ▁$ 3 0 , 0 0 0 ; ▁sevent een ▁of ▁them , ▁worn ▁by ▁st unt man ▁Tommy ▁Ces ar , ▁were ▁burn ed ▁as ▁part ▁of ▁film ing . ▁ ▁Bry an ▁had ▁to ▁use ▁a ▁separate ▁air ▁supply ▁due ▁to ▁the ▁fo am ' s ▁to x icity . ▁There ▁were ▁three ▁different ▁heads ▁for ▁the ▁suit , ▁built ▁from ▁fo am ▁and ▁fi berg lass , ▁with ▁different ▁expressions ▁and ▁movements ▁controlled ▁by ▁cable ▁mechan isms . ▁The ▁cost ume ▁was ▁fil med ▁against ▁scale ▁models ▁to ▁finish ▁the ▁effect . ▁The ▁effects ▁team ▁were ▁able ▁to ▁find ▁only ▁one ▁model ▁of ▁a ▁police ▁car ▁at ▁the ▁correct ▁scale . ▁They ▁bought ▁several ▁and ▁modified ▁them ▁to ▁represent ▁different |
▁vehicles . ▁The ▁water ▁from ▁a ▁burst ▁hyd rant ▁hit ▁by ▁a ▁remote - control led ▁car ▁was ▁actually ▁sand ▁as ▁the ▁water ▁did ▁not ▁scale ▁down . ▁The ▁" mar sh m allow " ▁that ▁ra ins ▁down ▁on ▁the ▁crowd ▁after ▁it ▁is ▁destroyed ▁was ▁sh aving ▁cre am . ▁After ▁seeing ▁the ▁intended ▁ ▁of ▁sh aving ▁cre am ▁to ▁be ▁used , ▁A ther ton ▁ins isted ▁on ▁testing ▁it . ▁The ▁weight ▁knock ed ▁a ▁st unt man ▁down , ▁and ▁they ▁ended ▁up ▁using ▁only ▁. ▁The ▁cre am ▁acted ▁as ▁a ▁skin ▁ir rit ant ▁after ▁hours ▁of ▁film ing , ▁giving ▁some ▁of ▁the ▁cast ▁r ash es . ▁ ▁Johnson ▁also ▁sculpt ed ▁the ▁Z omb ie ▁Cab ▁Driver ▁pu ppet . ▁The ▁Z omb ie ▁Cab ▁Driver ▁was ▁the ▁only ▁pu ppet ▁shot ▁on ▁location ▁in ▁New ▁York ▁City . ▁Johnson ▁based ▁it ▁on ▁a ▁re anim ated ▁cor pse ▁pu ppet ▁he ▁had ▁made ▁for ▁An ▁American ▁W ere w olf ▁in ▁London ▁( 1 9 8 1 ). ▁Johnson ▁and ▁Wilson ▁collabor ated ▁on ▁the ▁Library ▁Ghost , ▁creating ▁a ▁pu ppet ▁operated ▁by ▁tens ▁of ▁c ables ▁running ▁through ▁the ▁tor so ▁that ▁controlled ▁aspects ▁such ▁as ▁moving ▁the ▁head , ▁arms , ▁and ▁pulling ▁rub ber ▁skin ▁away ▁from ▁the ▁tor so ▁to ▁transform ▁it ▁from ▁a ▁hum ano id ▁into ▁a ▁mon str ous ▁gh oul . ▁The ▁original ▁Library ▁Ghost ▁pu ppet ▁was ▁considered ▁too ▁sc ary |
▁for ▁younger ▁aud ien ces ▁and ▁was ▁rep ur posed ▁for ▁use ▁in ▁F right ▁Night ▁( 1 9 8 5 ). ▁The ▁Library ▁catalog ▁scene ▁was ▁accomplished ▁live ▁in ▁three ▁takes , ▁with ▁the ▁crew ▁blow ing ▁air ▁through ▁co pper ▁pip es ▁to ▁blow ▁the ▁cards ▁into ▁the ▁air . ▁These ▁had ▁to ▁be ▁collected ▁and ▁re ass emble d ▁for ▁each ▁take . ▁Re it man ▁used ▁a ▁multi - camera ▁setup ▁to ▁focus ▁on ▁the ▁li br arian ▁and ▁the ▁cards ▁flying ▁around ▁her ▁and ▁a ▁wider ▁overall ▁shot . ▁The ▁floating ▁books ▁were ▁simply ▁hung ▁on ▁strings . ▁ ▁R andy ▁Cook ▁was ▁responsible ▁for ▁creating ▁the ▁quarter - scale ▁stop - m otion ▁pu ppets ▁of ▁G oz er ' s ▁min ions ▁Zu ul ▁and ▁Vin z , ▁the ▁T error ▁D ogs , ▁when ▁in ▁motion . ▁The ▁model ▁was ▁heavy ▁and ▁unw ield y . ▁It ▁took ▁nearly ▁thirty ▁hours ▁to ▁film ▁it ▁moving ▁across ▁a ▁ 3 0 - foot ▁stage ▁for ▁the ▁scene ▁where ▁it ▁purs ues ▁Louis ▁Tul ly ▁across ▁a ▁street . ▁For ▁the ▁scene ▁where ▁D ana ▁is ▁p inned ▁to ▁her ▁chair ▁by ▁demon ic ▁hands ▁before ▁a ▁door way ▁be aming ▁with ▁light , ▁Re it man ▁said ▁he ▁was ▁influenced ▁by ▁Close ▁Enc oun ters ▁of ▁the ▁Third ▁Kind ▁( 1 9 7 7 ). ▁A ▁rub ber ▁door ▁was ▁used ▁to ▁allow ▁dist ort ion ▁as ▁if ▁something ▁was ▁trying ▁to ▁come ▁through ▁it , |
▁while ▁g ri ps ▁conce aled ▁in ▁a ▁trap door ▁beneath ▁the ▁chair , ▁burst ▁through ▁it ▁while ▁we aring ▁demon ic ▁dog - leg ▁glo ves . ▁Made ▁before ▁the ▁advent ▁of ▁CG I , ▁any ▁non - pu ppet ▁g hosts ▁had ▁to ▁be ▁animated . ▁It ▁took ▁up ▁to ▁three ▁weeks ▁to ▁create ▁a ▁second ▁of ▁foot age . ▁For ▁G oz er , ▁S lav itza ▁J ovan ▁wore ▁red ▁contacts ▁that ▁caused ▁her ▁a ▁great ▁deal ▁of ▁pain ; ▁she ▁wore ▁a ▁har ness ▁to ▁move ▁around ▁the ▁set . ▁ ▁Technology ▁and ▁equipment ▁▁▁ ▁Hard ware ▁consult ant ▁Stephen ▁D ane ▁was ▁responsible ▁for ▁design ing ▁most ▁of ▁the ▁Ghost b ust ers ' ▁icon ic ▁equipment , ▁including ▁the ▁" pro ton ▁pack s " ▁used ▁to ▁wr angle ▁g hosts , ▁g host ▁tra ps , ▁and ▁their ▁vehicle , ▁the ▁E ct om obile . ▁The ▁equipment ▁had ▁to ▁be ▁designed ▁and ▁built ▁in ▁the ▁six ▁weeks ▁before ▁film ing ▁began ▁in ▁September ▁ 1 9 8 3 . ▁In sp ired ▁by ▁a ▁military ▁issue ▁fl am eth ro wer , ▁the ▁" pro ton ▁pack s " ▁consisted ▁of ▁a ▁hand h eld ▁pro ton ▁stream ▁firing ▁" neut r ino ▁wand " ▁connected ▁by ▁a ▁h ose ▁to ▁a ▁back pack ▁said ▁to ▁contain ▁a ▁nuclear ▁acceler ator . ▁D ane ▁said ▁that ▁he ▁" w ent ▁home ▁and ▁got ▁fo am ▁pieces ▁and ▁just ▁threw ▁a ▁bunch ▁of ▁stuff ▁together |
▁to ▁get ▁the ▁look . ▁It ▁was ▁highly ▁mach ined ▁but ▁it ▁had ▁to ▁look ▁off - the - sh elf ▁and ▁military ▁sur plus ." ▁ ▁Following ▁Re it man ' s ▁twe aks ▁to ▁the ▁design , ▁on - screen ▁models ▁were ▁made ▁from ▁a ▁fi berg lass ▁shell ▁with ▁an ▁al umin um ▁back plate ▁bol ted ▁to ▁a ▁United ▁States ▁Army ▁back pack ▁frame . ▁Each ▁pack ▁we ighed ▁about ▁ ▁with ▁the ▁batter ies ▁for ▁light ing ▁installed , ▁and ▁stra ined ▁the ▁actors ' ▁back s ▁during ▁the ▁long ▁sho ots . ▁Two ▁l ighter ▁versions ▁were ▁made , ▁a ▁h ollow ▁one ▁with ▁surface ▁details ▁for ▁wide ▁sh ots , ▁and ▁a ▁fo am ▁rub ber ▁version ▁for ▁action ▁scenes . ▁The ▁fi berg lass ▁props ▁were ▁created ▁by ▁special ▁effects ▁super visor ▁Ch uck ▁Gas par , ▁based ▁on ▁D ane ' s ▁design . ▁Gas par ▁used ▁rub ber ▁m olds ▁to ▁create ▁identical ▁fi berg lass ▁shell s ▁The ▁neut r ino ▁wand ▁had ▁a ▁flash bul b ▁at ▁the ▁tip , ▁giving ▁anim ators ▁an ▁original ▁point ▁for ▁the ▁pro ton ▁streams . ▁The ▁production ▁used ▁fake ▁walls ▁la ced ▁with ▁py rote chn ics ▁to ▁pract ically ▁create ▁the ▁damage ▁of ▁the ▁Ghost b ust ers ▁pro ton ▁pack s . ▁The ▁P KE ▁meter ▁prop ▁was ▁built ▁using ▁an ▁I ona ▁SP - 1 ▁hand h eld ▁sh oe ▁pol isher ▁as ▁a ▁base , ▁to ▁which ▁lights ▁and ▁electron |
ics ▁were ▁aff ixed . ▁ ▁The ▁technology ▁was ▁designed ▁not ▁to ▁be ▁over ly ▁fancy ▁or ▁sle ek , ▁emphas izing ▁the ▁characters ' ▁scientific ▁background s ▁combined ▁with ▁the ▁hom em ade ▁nature ▁of ▁their ▁equipment . ▁ ▁The ▁E ct om obile , ▁was ▁in ▁the ▁first ▁draft ▁of ▁A yk ro yd ' s ▁script , ▁and ▁he ▁and ▁John ▁Dave ik is ▁developed ▁some ▁early ▁concepts ▁for ▁the ▁car . ▁D ane ▁developed ▁fully ▁detailed ▁draw ings ▁for ▁the ▁interior ▁and ▁exterior ▁and ▁super vised ▁the ▁transformation ▁of ▁the ▁ 1 9 5 9 ▁Cad illa c ▁Miller - M eteor ▁amb ul ance ▁conversion ▁into ▁the ▁E ct om obile . ▁According ▁to ▁A ky ro yd , ▁the ▁actual ▁vehicle ▁was ▁" an ▁amb ul ance ▁that ▁we ▁converted ▁to ▁a ▁he arse ▁and ▁then ▁converted ▁to ▁an ▁amb ul ance ." ▁Early ▁concepts ▁featured ▁a ▁black ▁car ▁with ▁pur ple ▁and ▁white ▁stro be ▁lights ▁giving ▁it ▁a ▁super natural ▁g low , ▁but ▁this ▁idea ▁was ▁scra pped ▁after ▁cinemat ograph er ▁L ász ló ▁K ová cs ▁noted ▁that ▁dark ▁paint ▁would ▁not ▁film ▁well ▁at ▁night . ▁It ▁also ▁had ▁fant astic ▁features ▁such ▁as ▁the ▁ability ▁to ▁dem aterial ize ▁and ▁travel ▁inter - dim ension ally . ▁Two ▁vehicles ▁were ▁purchased , ▁one ▁for ▁the ▁pre - mod ification ▁scenes . ▁D ane ▁designed ▁its ▁high - tech ▁roof ▁array ▁with ▁objects ▁including ▁a ▁direction al ▁anten na , ▁an |
▁air - condition ing ▁unit , ▁storage ▁boxes ▁and ▁a ▁rad ome . ▁Because ▁of ▁its ▁size , ▁the ▁roof ▁ra ck ▁was ▁sh ipped ▁to ▁Manh attan ▁on ▁an ▁air plane , ▁while ▁the ▁car ▁was ▁transport ed ▁to ▁the ▁East ▁Coast ▁by ▁train . ▁Sound ▁designer ▁Richard ▁Beg gs ▁created ▁the ▁distinct ive ▁sir en ▁from ▁a ▁recording ▁of ▁a ▁le op ard ▁sn ar l , ▁cut ▁and ▁played ▁back ward . ▁ ▁S ets ▁and ▁logo ▁ ▁In ▁the ▁script , ▁A yk ro yd ▁described ▁the ▁Ghost b ust ers ▁cl othing ▁and ▁vehicle ▁as ▁bearing ▁a ▁No ▁symbol ▁with ▁a ▁g host ▁tra pped ▁in ▁it , ▁again ▁cred iting ▁his ▁friend ▁the ▁Vik ing ▁with ▁the ▁original ▁concept . ▁The ▁final ▁design ▁fell ▁to ▁Michael ▁C . ▁G ross , ▁who ▁had ▁volunte ered ▁to ▁serve ▁as ▁art ▁director ▁for ▁the ▁film . ▁As ▁the ▁logo ▁would ▁be ▁required ▁for ▁props ▁and ▁sets , ▁it ▁needed ▁to ▁be ▁final ized ▁quickly , ▁and ▁G ross ▁worked ▁with ▁B oss ▁Film ▁artist ▁Br ent ▁Bo ates ▁who ▁was ▁also ▁working ▁as ▁a ▁creature ▁design ▁consult ant ▁for ▁the ▁film . ▁Bo ates ▁drew ▁the ▁final ▁concept , ▁and ▁R / GA ▁animated ▁the ▁logo ▁for ▁the ▁film ' s ▁opening . ▁According ▁to ▁G ross , ▁two ▁versions ▁of ▁the ▁logo ▁exist , ▁with ▁one ▁having ▁" g host b ust ers " ▁written ▁across ▁the ▁diagonal ▁part ▁of ▁the ▁sign . ▁G ross ▁did ▁not ▁like |
▁how ▁it ▁looked ▁and ▁f li pped ▁the ▁diagonal ▁bar ▁to ▁read ▁top ▁left ▁to ▁bottom ▁right ▁instead , ▁but ▁they ▁later ▁removed ▁the ▁word ing . ▁According ▁to ▁G ross , ▁this ▁is ▁the ▁correct ▁version ▁of ▁the ▁sign ▁that ▁was ▁used ▁throughout ▁Europe . ▁The ▁bottom ▁left ▁to ▁top ▁right ▁version ▁was ▁used ▁in ▁the ▁United ▁States ▁as ▁that ▁was ▁the ▁design ▁of ▁the ▁No ▁symbol ▁there . ▁ ▁Med j uck ▁also ▁h ired ▁John ▁De C u ir ▁as ▁production ▁designer . ▁The ▁script ▁did ▁not ▁specify ▁where ▁G oz er ▁would ▁appear , ▁and ▁De C u ir ▁painted ▁the ▁top ▁of ▁D ana ' s ▁building ▁with ▁large , ▁cry stal ▁doors ▁that ▁opened ▁as ▁written ▁in ▁the ▁script . ▁The ▁fict ional ▁ro o ft op ▁of ▁ 5 5 ▁Central ▁Park ▁West ▁was ▁constructed ▁at ▁Stage ▁ 1 2 ▁on ▁the ▁Bur bank ▁Studios ▁lot . ▁It ▁was ▁one ▁of ▁the ▁largest ▁constructed ▁sets ▁in ▁film ▁history ▁and ▁was ▁surrounded ▁by ▁a ▁ 3 6 0 - deg ree ▁cycl or ama ▁painting . ▁The ▁light ing ▁used ▁throughout ▁the ▁painting ▁consum ed ▁enough ▁power ▁the ▁rest ▁of ▁the ▁studio ▁had ▁to ▁be ▁shut ▁down , ▁and ▁an ▁additional ▁four ▁gener ators ▁added , ▁when ▁it ▁was ▁in ▁use . ▁Small ▁models ▁such ▁as ▁plan es ▁were ▁hung ▁on ▁string ▁to ▁animate ▁the ▁back drop . ▁The ▁set ▁was ▁built ▁three ▁stories ▁off ▁the ▁ground ▁to ▁allow ▁for ▁film ing ▁from ▁low ▁angles . ▁ |
▁The ▁first ▁three ▁flo ors ▁and ▁street - front ▁of ▁D ana ' s ▁building ▁were ▁re created ▁as ▁sets ▁for ▁film ing , ▁including ▁the ▁clim actic ▁earth qu ake ▁scene ▁where ▁hyd ra ul ics ▁were ▁used ▁to ▁raise ▁broken ▁parts ▁of ▁the ▁street . ▁Bro ken ▁pieces ▁of ▁pav ement ▁and ▁the ▁road ▁were ▁position ed ▁outside ▁the ▁real ▁location ▁to ▁create ▁a ▁se am less ▁transition ▁between ▁the ▁two ▁sh ots . ▁De C u ir ▁said : ▁" They ▁had ▁one ▁night ▁to ▁dress ▁the ▁street . ▁When ▁people ▁went ▁home ▁early ▁in ▁the ▁evening ▁everything ▁was ▁normal , ▁and ▁when ▁the ▁little ▁old ▁ladies ▁came ▁out ▁to ▁walk ▁their ▁dogs ▁in ▁the ▁morning , ▁the ▁whole ▁street ▁had ▁er upt ed . ▁Appar ently , ▁people ▁compla ined ▁to ▁the ▁New ▁York ▁Police ▁Department ▁and ▁their ▁switch board ▁lit ▁up ." ▁For ▁the ▁scene ▁where ▁D ana ' s ▁a partment ▁expl odes ▁out wards , ▁We aver ▁stood ▁on ▁set ▁as ▁the ▁explos ion ▁happened . ▁Similarly , ▁the ▁scene ▁of ▁We aver ▁rot ating ▁in ▁the ▁air ▁was ▁done ▁on ▁set ▁using ▁a ▁body - cast ▁and ▁mechanical ▁arm ▁conce aled ▁in ▁the ▁cur tain s , ▁a ▁trick ▁Re it man ▁learned ▁working ▁with ▁mag ician ▁Doug ▁Hen ning . ▁ ▁Release ▁ ▁Pre - release ▁and ▁market ing ▁The ▁film ▁was ▁first ▁screen ed ▁for ▁test ▁aud ien ces ▁on ▁February ▁ 3 , ▁ 1 9 8 4 , ▁with ▁un fin |
ished ▁effects ▁sh ots ▁to ▁determine ▁if ▁the ▁comedy ▁worked . ▁Even ▁at ▁this ▁point , ▁Re it man ▁was ▁still ▁concerned ▁aud ien ces ▁would ▁not ▁react ▁well ▁to ▁the ▁Marsh m allow ▁Man ▁because ▁of ▁its ▁deviation ▁from ▁the ▁real ism ▁of ▁the ▁rest ▁of ▁the ▁film . ▁Re it man ▁re called ▁that ▁approximately ▁ 2 0 0 ▁people ▁were ▁rec ru ited ▁off ▁the ▁streets ▁to ▁view ▁the ▁film ▁in ▁a ▁the ater ▁on ▁the ▁Bur bank ▁lot . ▁It ▁was ▁during ▁the ▁opening ▁li br arian ▁scene ▁that ▁Re it man ▁knew ▁the ▁film ▁worked . ▁Aud ien ces ▁react ed ▁with ▁fear , ▁laugh s , ▁and ▁app la use ▁as ▁the ▁L ibr arian ▁Ghost ▁transformed ▁from ▁a ▁lady ▁into ▁a ▁mon ster . ▁The ▁f ateful ▁Marsh m allow ▁Sc ene ▁was ▁met ▁with ▁a ▁similar ▁reaction , ▁and ▁Re it man ▁knew ▁he ▁would ▁not ▁have ▁to ▁res ho ot ▁any ▁scenes . ▁The ▁screen ing ▁for ▁fellow ▁industry ▁members ▁f ared ▁less ▁well . ▁Price ▁re called ▁la ughing ▁as ▁the ▁rest ▁of ▁the ▁audience ▁sat ▁dead pan , ▁rational izing ▁that ▁an ▁industry ▁audience ▁wants ▁failure . ▁Murray ▁and ▁A yk ro yd ' s ▁then - agent ▁Michael ▁O v itz ▁re called ▁an ▁executive ▁telling ▁him , ▁" Don ’ t ▁worry : ▁we ▁all ▁make ▁mistakes ," ▁while ▁Roberto ▁Go iz u eta , ▁then - ch air man ▁of ▁Columbia ' s ▁parent , ▁The ▁C oca - |
Col a ▁Company , ▁said : ▁" G ee , ▁we ' re ▁going ▁to ▁lose ▁our ▁sh ir ts ." ▁ ▁In ▁the ▁months ▁before ▁its ▁debut , ▁a ▁te aser ▁tra iler ▁was ▁released ▁focused ▁on ▁the ▁" No ▁g hosts " ▁logo , ▁helping ▁the ▁icon ▁to ▁become ▁recogn izable ▁far ▁in ▁advance , ▁and ▁generating ▁interest ▁in ▁the ▁film ▁without ▁mention ing ▁its ▁title ▁or ▁its ▁stars . ▁A ▁separate ▁the atr ical ▁tra iler ▁for ▁the ▁film ▁contained ▁a ▁functional ▁to ll - free ▁tele phone ▁number ▁with ▁a ▁message ▁by ▁Murray ▁and ▁A yk ro yd ▁waiting ▁for ▁the ▁ 1 , 0 0 0 ▁call ers ▁per ▁hour ▁it ▁received ▁over ▁a ▁six - week ▁period . ▁They ▁also ▁appeared ▁in ▁a ▁video ▁for ▁Sho West , ▁a ▁the ater - owner ▁convention , ▁to ▁promote ▁the ▁film . ▁Columbia ▁spent ▁approximately ▁$ 1 0 ▁million ▁on ▁market ing , ▁including ▁$ 2 . 2 5 ▁million ▁on ▁prints , ▁$ 1 ▁million ▁on ▁prom ot ional ▁materials , ▁and ▁$ 7 ▁million ▁on ▁advert ising ▁and ▁mis cell aneous ▁costs ▁including ▁a ▁$ 1 5 0 , 0 0 0 ▁premi ere ▁for ▁a ▁hospital ▁and ▁the ▁hotel ▁costs ▁for ▁the ▁press . ▁In cluding ▁the ▁budget ▁and ▁market ing ▁costs , ▁it ▁was ▁estimated ▁that ▁the ▁film ▁would ▁have ▁to ▁make ▁at ▁least ▁$ 8 0 ▁million ▁to ▁turn ▁a ▁profit . ▁ ▁Box ▁office ▁The ▁premi ere ▁of ▁Ghost b ust ers ▁took |
▁place ▁on ▁June ▁ 7 , ▁ 1 9 8 4 , ▁at ▁the ▁Av co ▁Cinema ▁in ▁West wood , ▁California . ▁The ▁film ▁received ▁a ▁wide ▁release ▁on ▁June ▁ 8 , ▁ 1 9 8 4 , ▁in ▁ 1 , 3 3 9 ▁the aters . ▁During ▁its ▁opening ▁week end ▁in ▁North ▁America , ▁the ▁film ▁earned ▁$ 1 3 . 6 mill ion — an ▁average ▁of ▁$ 1 0 , 0 4 0 ▁per ▁the ater . ▁It ▁finished ▁as ▁the ▁number ▁one ▁film ▁of ▁the ▁week end , ▁ahead ▁of ▁horror - com edy ▁Gre ml ins ▁($ 1 2 . 5 mill ion ), ▁released ▁the ▁same ▁week end , ▁and ▁the ▁action - ad vent ure ▁film ▁Indiana ▁Jones ▁and ▁the ▁Temple ▁of ▁Do om ▁($ 1 2 mill ion ), ▁which ▁was ▁in ▁its ▁third ▁week ▁of ▁release . ▁The ▁gross ▁increased ▁to ▁$ 2 3 . 1 mill ion ▁during ▁its ▁first ▁week , ▁prov ing ▁a ▁hit ▁for ▁the ▁studio , ▁which ▁had ▁not ▁had ▁one ▁since ▁ 1 9 8 2 ' s ▁To ots ie ▁( in ▁which ▁Murray ▁also ▁appeared ). ▁It ▁broke ▁the ▁studio ' s ▁own ▁record ▁at ▁the ▁time ▁set ▁by ▁To ots ie . ▁The ▁film ▁remained ▁number ▁one ▁for ▁seven ▁consecutive ▁weeks , ▁gross ing ▁$ 1 4 6 . 5 mill ion , ▁before ▁being ▁ou sted ▁by ▁music ian ▁Prince ' s ▁film ▁Pur ple |
▁Rain ▁in ▁early ▁August . ▁It ▁became ▁the ▁second ▁highest - g ross ing ▁film ▁of ▁the ▁year ▁behind ▁Indiana ▁Jones ▁and ▁the ▁Temple ▁of ▁Do om . ▁ ▁The ▁film ▁briefly ▁reg ained ▁the ▁number ▁one ▁spot ▁the ▁following ▁week ▁before ▁sp ending ▁the ▁next ▁five ▁weeks ▁at ▁number ▁two , ▁initially ▁behind ▁Red ▁Da wn ▁and ▁then ▁the ▁thr iller ▁T ight ro pe . ▁It ▁was ▁again ▁the ▁number ▁one ▁film ▁for ▁one ▁week ▁in ▁mid - Se ptember ▁and ▁ultimately ▁remained ▁one ▁of ▁the ▁top ▁three ▁gross ing ▁films ▁for ▁six teen ▁straight ▁weeks . ▁It ▁began ▁a ▁grad ual ▁decl ine ▁and ▁fell ▁from ▁the ▁list ▁of ▁the ▁top ▁ten ▁gross ing ▁films ▁by ▁late ▁October . ▁It ▁left ▁cin emas ▁in ▁early ▁January ▁ 1 9 8 5 ▁after ▁thirty ▁weeks . ▁Ghost b ust ers ▁had ▁quickly ▁become ▁a ▁hit , ▁sur pass ing ▁Indiana ▁Jones ▁and ▁the ▁Temple ▁of ▁Do om ▁as ▁the ▁top - g ross ing ▁film ▁of ▁that ▁summer . ▁By ▁the ▁time ▁it ▁left ▁cin emas ▁it ▁had ▁earned ▁$ 2 2 9 . 2 mill ion , ▁making ▁it ▁the ▁second ▁highest - g ross ing ▁film ▁of ▁ 1 9 8 4 , ▁about ▁$ 5 mill ion ▁behind ▁Edd ie ▁Mur phy ' s ▁action - com edy ▁B ever ly ▁Hills ▁Cop ▁($ 2 3 4 . 8 mill ion ) ▁which ▁released ▁in ▁mid - Dec ember . ▁Its ▁box ▁office ▁gross ▁made |
▁it ▁the ▁highest - g ross ing ▁comedy ▁film ▁of ▁its ▁time , ▁replacing ▁Animal ▁House , ▁a ▁title ▁it ▁held ▁for ▁six ▁months ▁before ▁being ▁replaced ▁by ▁B ever ly ▁Hills ▁Cop . ▁ ▁Columbia ▁had ▁negoti ated ▁ 5 0 % ▁of ▁the ▁box - office ▁reven ues ▁or ▁ 9 0 % ▁of ▁gross ▁after ▁exp enses , ▁depending ▁on ▁wh iche ver ▁was ▁higher . ▁Since ▁the ▁latter ▁was ▁the ▁case , ▁the ▁studio ▁received ▁a ▁ 7 3 % ▁share ▁of ▁the ▁box ▁office ▁profit , ▁an ▁estimated ▁$ 1 2 8 mill ion . ▁The ▁main ▁cast ▁members ▁each ▁received ▁percent ages ▁of ▁the ▁gross ▁prof its ▁or ▁net ▁participation ▁of ▁the ▁film . ▁While ▁figures ▁do ▁not ▁exist ▁for ▁all ▁involved , ▁a ▁ 1 9 8 7 ▁report ▁estimated ▁that ▁Murray ▁alone ▁had ▁earned ▁between ▁$ 2 0 – $ 3 0 mill ion ▁from ▁his ▁share . ▁D etailed ▁box ▁office ▁figures ▁are ▁not ▁available ▁for ▁territ ories ▁outside ▁North ▁America , ▁but ▁it ▁is ▁estimated ▁to ▁have ▁earned ▁approximately ▁$ 5 3 mill ion , ▁bringing ▁Ghost b ust ers ▁world wide ▁total ▁to ▁$ 2 8 2 . 2 mill ion . ▁That ▁year ▁saw ▁the ▁release ▁of ▁several ▁films ▁that ▁would ▁later ▁be ▁considered ▁icon ic ▁of ▁the ▁era , ▁including : ▁Gre ml ins , ▁The ▁Kar ate ▁Kid , ▁The ▁Term in ator , ▁A ▁Night m are ▁on ▁El m ▁Street , ▁Roman cing |
▁the ▁Stone , ▁and ▁The ▁Never End ing ▁Story . ▁This ▁was ▁the ▁first ▁time ▁in ▁box ▁office ▁history ▁that ▁four ▁films , ▁including ▁Ghost b ust ers , ▁gross ed ▁over ▁$ 1 0 0 mill ion . ▁ ▁Ghost b ust ers ▁was ▁re - re leased ▁in ▁North ▁America ▁in ▁August ▁ 1 9 8 5 , ▁ear ning ▁a ▁further ▁$ 9 . 4 mill ion ▁over ▁five ▁weeks , ▁raising ▁the ▁film ' s ▁the atr ical ▁gross ▁to ▁$ 2 3 8 . 6 mill ion , ▁sur pass ing ▁B ever ly ▁Hills ▁Cop ▁to ▁become ▁the ▁most ▁successful ▁comedy ▁of ▁the ▁ 1 9 8 0 s . ▁A ▁restored ▁and ▁rem aster ed ▁version ▁of ▁the ▁film ▁was ▁released ▁to ▁celebr ate ▁Ghost b ust ers ▁ 3 0 th ▁anni versary , ▁playing ▁for ▁three ▁weeks ▁beginning ▁in ▁August ▁ 2 0 1 4 , ▁at ▁ 7 0 0 ▁cin emas ▁across ▁North ▁America . ▁The ▁film ▁gross ed ▁an ▁additional ▁$ 3 . 5 mill ion , ▁bringing ▁the ▁the atr ical ▁total ▁to ▁$ 2 4 2 . 2 mill ion . ▁The ▁film ▁has ▁also ▁received ▁very ▁limited ▁re - re leases ▁for ▁special ▁events ▁and ▁anni vers aries . ▁Com b ined ▁with ▁available ▁figures ▁for ▁territ ories ▁outside ▁of ▁North ▁America , ▁the ▁film ▁has ▁earned ▁an ▁estimated ▁$ 2 9 5 . 2 mill ion ▁world wide . ▁Ad just |
ed ▁for ▁infl ation , ▁its ▁North ▁American ▁lifetime ▁total ▁is ▁$. ▁According ▁to ▁box ▁office ▁tra cker ▁Box ▁Office ▁Mo jo ' s ▁own ▁calculations , ▁based ▁on ▁estimated ▁adm issions ▁and ▁average ▁ticket ▁prices ▁in ▁ 2 0 1 9 , ▁Ghost b ust ers ▁has ▁sold ▁the ▁equivalent ▁of ▁$ 6 4 1 . 2 mill ion ▁worth ▁of ▁tick ets , ▁making ▁it ▁one ▁of ▁the ▁highest - g ross ing ▁films ▁of ▁all ▁time . ▁ ▁Crit ical ▁response ▁ ▁Ghost b ust ers ▁opened ▁to ▁generally ▁positive ▁reviews . ▁Roger ▁E bert ▁gave ▁the ▁film ▁three - and - a - half ▁stars ▁out ▁of ▁four , ▁cit ing ▁it ▁as ▁a ▁rare ▁example ▁of ▁successfully ▁combining ▁a ▁special ▁effects ▁block b uster ▁with ▁" s ly " ▁dialog ue . ▁E bert ▁noted ▁the ▁effects ▁existed ▁to ▁serve ▁the ▁actors ' ▁performances ▁and ▁not ▁the ▁reverse , ▁saying ▁it ▁is ▁" an ▁exception ▁to ▁the ▁general ▁rule ▁that ▁big ▁special ▁effects ▁can ▁w reck ▁a ▁comedy ." ▁He ▁also ▁c ited ▁Ghost b ust ers ▁as ▁a ▁rare ▁main stream ▁film ▁with ▁many ▁quot able ▁lines . ▁Gene ▁S isk el ▁enjoyed ▁the ▁characters ▁interact ing ▁with ▁each ▁other ▁and ▁pra ised ▁Murray ' s ▁performance ▁in ▁particular , ▁saying ▁his ▁com edic ▁sens ib ilities ▁compens ated ▁for ▁" bor ing ▁special ▁effects ". ▁He ▁was ▁critical ▁of ▁Hudson ' s ▁late ▁addition ▁to ▁the ▁plot ▁as ▁W inst on ▁Z ed dem ore |
▁and ▁the ▁character ' s ▁lack ▁of ▁development , ▁saying ▁it ▁makes ▁" him ▁appear ▁as ▁only ▁a ▁token ▁box ▁office ▁l ure ." ▁ ▁Richard ▁Sch ick el ▁similarly ▁pra ised ▁Murray , ▁and ▁the ▁grace ▁of ▁A yk ro yd ▁and ▁Ram is ▁in ▁allowing ▁Murray ▁to ▁out sh ine ▁them . ▁Sch ick el ▁considered ▁Murray ' s ▁character ▁Peter ▁V enk man ▁a ▁" once - in - a - l if etime ▁opportunity ▁to ▁develop ▁fully ▁his ▁pat ented ▁com ic ▁character ." ▁He ▁said ▁the ▁effects ▁appear ▁somewhat ▁" t ack y " ▁and ▁serve ▁as ▁a ▁com ic ▁comment ary ▁on ▁g host ▁films . ▁Ult imately ▁he ▁believed ▁pra ise ▁was ▁due ▁to ▁all ▁involved ▁for ▁" th inking ▁on ▁a ▁grand ly ▁com ic ▁scale ." ▁Dave ▁Ke hr ▁counter ed ▁that ▁A yk ro yd ▁and ▁Ram is ▁were ▁" cur iously ▁under util ized ," ▁but ▁appreciated ▁Murray ' s ▁dead pan ▁line ▁read ings . ▁Ke hr ▁said ▁Re it man ▁is ▁ade pt ▁at ▁impro vis ational ▁comedy , ▁but ▁lost ▁control ▁of ▁the ▁film ▁as ▁the ▁special ▁effects ▁gradually ▁es cal ated . ▁ ▁Arthur ▁Knight ▁appreciated ▁the ▁relax ed ▁style ▁of ▁comedy ▁saying ▁while ▁the ▁plot ▁is ▁" prim itive ," ▁it ▁has ▁far ▁more ▁style ▁and ▁fin esse ▁than ▁would ▁be ▁expected ▁of ▁the ▁cre ative ▁team ▁behind ▁Me at ball s ▁and ▁Animal ▁House . ▁He ▁sing led ▁out ▁edit ors ▁Sh eld on ▁K ahn |
▁and ▁David ▁Ble w itt ▁for ▁creating ▁a ▁sust ained ▁pace ▁of ▁comedy ▁and ▁action . ▁Despite ▁" b ath room ▁humor ▁and ▁tack y ▁sight ▁g ags " ▁Peter ▁Tra vers ▁said ▁Ghost b ust ers ▁was ▁" ir res ist ible ▁n ons ense ," ▁comparing ▁the ▁film ▁to ▁the ▁super natural ▁horror ▁film ▁The ▁Ex or c ist , ▁but ▁with ▁the ▁comedy ▁du o ▁Abb ott ▁and ▁Cost ello ▁st arring . ▁Tra vers ▁appreciated ▁how ▁Murray , ▁A yk ro yd , ▁and ▁Ram is ▁worked ▁together . ▁ ▁Joseph ▁G elm is ▁described ▁the ▁Ghost b ust ers ▁as ▁an ▁ad oles cent ▁fant asy , ▁comparing ▁their ▁fire house ▁base ▁to ▁the ▁Bat ca ve ▁with ▁a ▁Fire man ' s ▁pole ▁and ▁an ▁E ct om obile ▁on ▁the ▁ground ▁floor . ▁He ▁said ▁the ▁film ▁works ▁as ▁a ▁collabor ative ▁effort ▁between ▁the ▁three ▁main ▁Ghost b ust ers , ▁particularly ▁Murray , ▁who ▁dismiss es ▁the ▁serious ▁situations ▁to ▁keep ▁them ▁com edic . ▁Des er et ▁News ▁Christopher ▁H icks ▁pra ised ▁Re it man ' s ▁improved ▁direct ing ▁skills , ▁and ▁the ▁crew ▁for ▁avoid ing ▁the ▁vul gar ity ▁found ▁in ▁their ▁previous ▁films , ▁C addy sh ack ▁and ▁St ri pes . ▁He ▁felt ▁they ▁reached ▁for ▁more ▁cre ative ▁humor ▁and ▁genu ine ▁thr ills ▁instead . ▁H icks ▁sing led ▁out ▁Murray ▁saying ▁he ▁" has ▁never ▁been ▁better ▁than ▁he ▁is ▁here ." ▁He |
▁noted ▁that ▁Murray , ▁Ram is ▁and ▁A yk ro yd ▁" w anted ▁to ▁be ▁like ▁the ▁Marx ▁brothers ▁of ▁the ▁ 8 0 s ." ▁He ▁compla ined ▁about ▁the ▁finale , ▁claim ing ▁it ▁lost ▁its ▁sense ▁of ▁fun ▁and ▁was ▁" over b low n ," ▁but ▁found ▁the ▁film ▁compens ated ▁for ▁this , ▁since ▁it ▁" has ▁g hosts ▁like ▁you ' ve ▁never ▁seen ". ▁ ▁On ▁a ▁more ▁critical ▁note , ▁Jan et ▁Mas lin ▁said ▁that ▁Murray ' s ▁tal ents ▁were ▁in ▁service ▁to ▁a ▁film ▁lack ing ▁wit ▁or ▁coh er ence . ▁She ▁noted ▁many ▁of ▁the ▁characters ▁had ▁little ▁to ▁do , ▁leaving ▁their ▁stories ▁un resol ved ▁as ▁the ▁plot ▁began ▁to ▁give ▁way ▁to ▁serv icing ▁the ▁special ▁effects ▁instead . ▁ ▁For ▁Mas lin , ▁Ghost b ust ers ▁worked ▁during ▁the ▁small ▁g host - catch ing ▁scenes , ▁but ▁was ▁out ▁of ▁hand ▁during ▁the ▁ap oc aly ptic ▁finale . ▁However , ▁she ▁did ▁pra ise ▁We aver ' s ▁performance ▁as ▁an ▁" ex cell ent ▁fo il " ▁for ▁Murray . ▁Vari ety ▁said ▁Ghost b ust ers ▁mistaken ly ▁had ▁top ▁com ed ians ▁but ▁often ▁had ▁them ▁working ▁alone , ▁calling ▁it ▁a ▁" lav ish ly ▁produced " ▁film ▁that ▁is ▁only ▁period ically ▁impress ive . ▁Vari ety ▁also ▁sing led ▁out ▁Murray ▁for ▁his ▁" ende aring " ▁physical ▁comedy ▁and ▁ad - li bb ing . |
▁News we eks ▁David ▁An sen ▁enjoyed ▁the ▁film , ▁describing ▁it ▁as ▁a ▁team work ▁project ▁where ▁everyone ▁works ▁" t ow ard ▁the ▁same ▁goal ▁of ▁relax ed ▁ins an ity "; ▁he ▁called ▁the ▁film ▁" w onder ful ▁summer ▁n ons ense ". ▁Paul ine ▁K ael ▁had ▁problems ▁with ▁the ▁chem istry ▁among ▁the ▁three ▁lead ▁actors . ▁She ▁pra ised ▁Murray , ▁but ▁felt ▁that ▁other ▁actors ▁did ▁not ▁have ▁much ▁material ▁to ▁contribute ▁to ▁the ▁story ; ▁she ▁concluded , ▁" M ur ray ' s ▁lines ▁fall ▁on ▁dead ▁air ." ▁ ▁Acc ol ades ▁Ghost b ust ers ▁was ▁nominated ▁for ▁two ▁Academy ▁Awards ▁in ▁ 1 9 8 5 : ▁Best ▁Original ▁Song ▁for ▁" G host b ust ers " ▁by ▁Ray ▁Parker ▁Jr . ▁( los ing ▁to ▁Ste vie ▁Wonder ' s ▁" I ▁Just ▁Cal led ▁to ▁Say ▁I ▁Love ▁You " ▁from ▁The ▁Woman ▁in ▁Red ), ▁and ▁Best ▁Visual ▁Effect s ▁for ▁John ▁Bruno , ▁Richard ▁Ed l und , ▁Ch uck ▁Gas par ▁and ▁Mark ▁V argo ▁( los ing ▁to ▁Indiana ▁Jones ▁and ▁the ▁Temple ▁of ▁Do om ). ▁ ▁That ▁same ▁year , ▁the ▁film ▁was ▁nominated ▁for ▁three ▁Golden ▁Glo be ▁Awards : ▁Best ▁Mot ion ▁Picture ▁– ▁Musical ▁or ▁Com edy ▁( los ing ▁to ▁Roman cing ▁the ▁Stone ), ▁Best ▁A ctor ▁– ▁Mot ion ▁Picture ▁Musical ▁or ▁Com edy ▁for ▁Murray ▁( los ing ▁to ▁D ud ley ▁Moore ▁in |
▁M icki ▁& ▁Mau de ), ▁and ▁Best ▁Original ▁Song ▁for ▁Parker ▁Jr ., ▁( los ing ▁again ▁to ▁" I ▁Just ▁Cal led ▁to ▁Say ▁I ▁Love ▁You "). ▁" G host b ust ers " ▁went ▁on ▁to ▁win ▁the ▁B AF TA ▁Award ▁for ▁Best ▁Original ▁Song , ▁and ▁Ed l und ▁was ▁nominated ▁for ▁Special ▁Visual ▁Effect s ▁( los ing ▁again ▁to ▁Indiana ▁Jones ▁and ▁the ▁Temple ▁of ▁Do om ). ▁It ▁won ▁Best ▁Fant asy ▁Film ▁at ▁the ▁ 1 2 th ▁Sat urn ▁Awards . ▁ ▁Post - release ▁ ▁After math ▁ ▁Ray ▁Parker , ▁Jr .' s ▁" G host b ust ers " ▁reached ▁number ▁one ▁on ▁the ▁Billboard ▁Hot ▁ 1 0 0 ▁chart ▁on ▁August ▁ 1 1 , ▁ 1 9 8 4 , ▁two ▁months ▁after ▁the ▁film ' s ▁release , ▁and ▁remained ▁there ▁for ▁three ▁weeks . ▁It ▁spent ▁a ▁total ▁of ▁ 2 1 ▁weeks ▁on ▁the ▁charts . ▁The ▁theme ▁is ▁estimated ▁to ▁have ▁added ▁$ 2 0 mill ion ▁to ▁the ▁film ' s ▁box ▁office ▁gross . ▁Direct ed ▁by ▁Re it man , ▁the ▁" G host b ust ers " ▁music ▁video ▁was ▁number ▁one ▁on ▁MTV , ▁and ▁features ▁came os ▁by ▁cele brit ies ▁including : ▁Che vy ▁Ch ase , ▁I rene ▁Car a , ▁John ▁C andy , ▁Mel issa ▁Gilbert , ▁O ll ie ▁E . ▁Brown , ▁Jeff rey ▁Tamb or , ▁George ▁Wend |
t , ▁Al ▁Fran ken , ▁D anny ▁De V ito , ▁Car ly ▁Simon , ▁Peter ▁F alk , ▁and ▁Ter i ▁G arr . ▁None ▁of ▁the ▁actors ▁were ▁paid ▁for ▁particip ating , ▁but ▁did ▁so ▁as ▁a ▁favor ▁to ▁Re it man . ▁Short ly ▁after ▁the ▁film ' s ▁release , ▁H ue y ▁Lewis ▁su ed ▁Ray ▁Parker ▁Jr , ▁for ▁pl ag iar ism , ▁alleg ing ▁he ▁had ▁copied ▁the ▁mel ody ▁( prim arily ▁the ▁bass line ) ▁from ▁Lewis ' ▁ 1 9 8 3 ▁song ▁" I ▁W ant ▁a ▁New ▁D rug ". ▁The ▁case ▁was ▁settled ▁out ▁of ▁court ▁in ▁ 1 9 8 5 ▁for ▁an ▁und is closed ▁sum ▁and ▁a ▁confident ial ity ▁agreement ▁that ▁prohib ited ▁discuss ing ▁the ▁case . ▁According ▁to ▁Parker , ▁Jr . ▁there ▁were ▁several ▁law su its ▁at ▁the ▁time , ▁because ▁" when ▁you ▁sell ▁that ▁many ▁records , ▁I ▁think ▁everybody ▁wants ▁to ▁say ▁that ▁they ▁wrote ▁the ▁song ." ▁Parker , ▁Jr . ▁later ▁su ed ▁Lewis ▁for ▁bre aching ▁the ▁confident ial ity ▁agreement ▁in ▁a ▁ 2 0 0 1 ▁episode ▁of ▁V H 1 ' s ▁Be hind ▁the ▁Music , ▁where ▁he ▁re assert ed ▁that ▁Parker , ▁Jr . ▁st ole ▁the ▁song . ▁Regarding ▁his ▁case ▁against ▁Lewis , ▁Parker , ▁Jr . ▁said , ▁" I ▁got ▁a ▁lot ▁of ▁money ▁out ▁of ▁that ." ▁In ▁ 1 9 8 |
4 , ▁the ▁film m akers ▁were ▁also ▁su ed ▁by ▁the ▁mak ers ▁of ▁Cas per ▁the ▁Friend ly ▁Ghost ▁for ▁$ 5 0 ▁million ▁and ▁the ▁destruction ▁of ▁the ▁film . ▁They ▁alleg ed ▁the ▁Ghost b ust ers ▁logo ▁was ▁based ▁on ▁their ▁character ▁F at so . ▁The ▁case ▁was ▁decided ▁in ▁Columbia ' s ▁favor . ▁ ▁Murray ▁left ▁acting ▁for ▁four ▁years ▁following ▁the ▁release ▁of ▁Ghost b ust ers . ▁He ▁described ▁the ▁film ' s ▁success ▁as ▁a ▁phenomen on ▁that ▁would ▁forever ▁be ▁his ▁biggest ▁accomplish ment ▁and , ▁comp ounded ▁by ▁the ▁failure ▁of ▁his ▁personal ▁project ▁The ▁Raz or ' s ▁Edge ▁( 1 9 8 4 ), ▁he ▁felt ▁" radio active ". ▁He ▁chose ▁to ▁avoid ▁making ▁mov ies ▁until ▁ 1 9 8 8 ▁when ▁he ▁appeared ▁in ▁the ▁Christmas ▁comedy ▁film ▁Sc ro og ed . ▁Murray ▁was ▁paid ▁$ 6 ▁million ▁to ▁star ▁in ▁it ; ▁his ▁multi - year ▁absence ▁had ▁increased ▁his ▁audience ▁draw ▁and ▁his ▁fee . ▁Art ▁Lin son ▁said ▁that ▁aside ▁from ▁Edd ie ▁Mur phy , ▁Murray ' s ▁was ▁the ▁only ▁other ▁name ▁that ▁could ▁sell ▁$ 1 0 ▁million ▁worth ▁of ▁tick ets ▁in ▁the ▁opening ▁three ▁to ▁four ▁days . ▁Sc ro og ed ▁even ▁trad ed ▁on ▁Ghost b ust ers ▁popular ity ▁in ▁its ▁market ing , ▁using ▁the ▁tag line ▁that ▁Murray ▁was ▁" back ▁among ▁the ▁g hosts ". ▁In ▁a ▁ 1 9 |
8 9 ▁interview , ▁Re it man ▁said ▁he ▁was ▁ups et ▁at ▁the ▁" l ittle ▁respect " ▁he ▁felt ▁Ghost b ust ers ▁received ▁and ▁that ▁his ▁work ▁was ▁not ▁taken ▁seriously , ▁bel ieving ▁many ▁dismiss ed ▁it ▁as ▁just ▁" another ▁action - com edy ". ▁ ▁Hudson ▁for ▁his ▁part ▁looked ▁on ▁the ▁film ▁fond ly ▁and ▁with ▁l ament . ▁He ▁reg rett ed ▁the ▁marg inal ization ▁of ▁his ▁character ▁from ▁the ▁original ▁script , ▁as ▁many ▁of ▁W inst on ' s ▁major ▁scenes ▁were ▁passed ▁to ▁Murray . ▁He ▁felt ▁Ghost b ust ers ▁did ▁not ▁improve ▁his ▁career ▁as ▁he ▁had ▁hoped , ▁or ▁been ▁promised , ▁and ▁in ▁some ▁cases , ▁it ▁had ▁cost ▁him ▁roles . ▁Hudson ▁turned ▁to ▁television ▁after ▁Ghost b ust ers ▁appearing ▁in ▁several ▁shows . ▁He ▁considered ▁his ▁experience ▁had ▁taught ▁him ▁how ▁to ▁adjust ▁when ▁things ▁did ▁not ▁go ▁his ▁way . ▁In ▁a ▁ 2 0 1 4 ▁interview , ▁Hudson ▁said : ▁" I ▁love ▁the ▁character ▁and ▁he ' s ▁got ▁some ▁great ▁lines , ▁but ▁I ▁felt ▁the ▁gu y ▁was ▁just ▁kind ▁of ▁there . ▁I ▁love ▁the ▁movie , ▁I ▁love ▁the ▁guys . ▁I ’ m ▁very ▁thank ful ▁to ▁Ivan ▁for ▁casting ▁me . ▁I ’ m ▁very ▁thank ful ▁that ▁fans ▁appreciate ▁the ▁W inst on ▁character . ▁But ▁it ’ s ▁always ▁been ▁very ▁fr ustr ating — kind ▁of ▁a ▁love / h ate |
▁thing , ▁I ▁guess ." ▁As ▁for ▁A ther ton , ▁based ▁on ▁Murray ' s ▁ad - li bb ed ▁ins ult ▁of ▁" d ick less ", ▁he ▁claimed ▁that ▁even ▁in ▁the ▁mid - 1 9 9 0 s , ▁fans ▁would ▁still ▁refer ▁to ▁him ▁as ▁such ▁on ▁the ▁streets ▁to ▁his ▁i re . ▁ ▁Th ematic ▁analysis ▁Ghost b ust ers ▁has ▁been ▁analyz ed ▁as ▁an ▁era - app ropri ate ▁example ▁of ▁Republican ▁or ▁Libert arian ▁ide ology , ▁in ▁particular ▁Re agan ▁era ▁econom ics ▁popular ized ▁by ▁then ▁United ▁States ▁President ▁Ron ald ▁Re agan . ▁Re agan om ics ▁focused ▁on ▁limited ▁government ▁sp ending ▁and ▁reg ulation ▁in ▁favor ▁of ▁a ▁free ▁market ▁provided ▁by ▁the ▁private ▁sector ▁of ▁entrepr ene ur ship , ▁profit ▁mot ives , ▁and ▁individual ▁initi ative . ▁ ▁Anal yst s ▁point ▁to ▁the ▁film ' s ▁prem ise ▁of ▁a ▁small ▁private ▁business ▁ob struct ed ▁by ▁an ▁ar rog ant , ▁in comp et ent ▁b ureau c rat ▁( W alter ▁Pe ck ) ▁from ▁a ▁government ▁ag ency ▁( the ▁Environment al ▁Prote ction ▁Agency ). ▁It ▁is ▁because ▁of ▁this ▁inter ference ▁that ▁the ▁Ghost b ust ers ' ▁g host ▁contain ment ▁unit ▁is ▁comprom ised , ▁un le ash ing ▁spirits ▁upon ▁the ▁city ▁and ▁trigger ing ▁G oz er ' s ▁arrival . ▁Indeed , ▁when ▁Pe ck ▁arriv es ▁to ▁sh utter ▁the ▁Ghost b ust |
ers , ▁Eg on ▁aff ir ms ▁" this ▁is ▁private ▁property ". ▁In ▁this ▁sense , ▁it ▁is ▁Pe ck , ▁not ▁G oz er , ▁who ▁represents ▁the ▁film ' s ▁true ▁villa in . ▁O thers ▁note ▁that ▁after ▁losing ▁their ▁jobs ▁at ▁the ▁university , ▁A yk ro yd ' s ▁character ▁is ▁ups et ▁because ▁their ▁public ▁sector ▁fund ing ▁required ▁little ▁of ▁them . ▁He ▁had ▁worked ▁in ▁the ▁private ▁sector ▁where , ▁" They ▁expect ▁results ." ▁ ▁The ▁Washington ▁Ex am iner ▁notes ▁that ▁it ▁is ▁the ▁private ▁sector ▁that ▁arriv es ▁to ▁combat ▁the ▁increasing ▁super natural ▁activity ▁in ▁New ▁York , ▁for ▁a ▁fee , ▁while ▁the ▁government ▁is ▁in cap able ▁of ▁doing ▁anything . ▁As ▁V ox ▁notes , ▁the ▁mayor , ▁a ▁government ▁representative , ▁is ▁motiv ated ▁to ▁release ▁the ▁Ghost b ust ers ▁to ▁defeat ▁the ▁god ly ▁threat ▁after ▁being ▁rem ind ed ▁that ▁their ▁success ▁will ▁save ▁the ▁lives ▁of ▁" mill ions ▁of ▁registered ▁vot ers ", ▁a ▁c yn ical ▁view ▁of ▁an ▁official ▁who ▁is ▁motiv ated ▁mainly ▁by ▁what ▁will ▁allow ▁him ▁to ▁retain ▁his ▁position . ▁Both ▁A yk ro yd ▁and ▁Re it man ▁have ▁confirmed ▁these ▁are ▁intent ional ▁all us ions . ▁Re it man , ▁in ▁particular , ▁cons iders ▁himself ▁a ▁" con serv ative - slash - li bert arian ". ▁ ▁Home ▁media ▁Ghost b ust ers ▁was ▁released ▁on ▁V HS ▁in ▁October |
▁ 1 9 8 5 , ▁in ▁competition ▁with ▁the ▁home ▁release ▁of ▁B ever ly ▁Hills ▁Cop . ▁Param ount ▁had ▁scheduled ▁the ▁film ▁for ▁release ▁the ▁day ▁before ▁Ghost b ust ers . ▁In ▁response , ▁Columbia ▁moved ▁Ghost b ust ers ▁release ▁a ▁week ▁earlier . ▁Rem oved ▁from ▁direct ▁competition , ▁it ▁was ▁predicted ▁to ▁sell ▁well , ▁though ▁it ▁was ▁expected ▁the ▁equally ▁popular ▁B ever ly ▁Hills ▁Cop ▁would ▁do ▁better , ▁given ▁its ▁$ 2 9 . 9 5 ▁price ▁compared ▁to ▁Ghost b ust ers ▁$ 7 9 . 9 5 . ▁Columbia ▁developed ▁a ▁$ 1 ▁million ▁ad ▁campaign ▁to ▁promote ▁the ▁V HS ▁release . ▁It ▁was ▁the ▁t enth ▁best s elling ▁V HS ▁during ▁its ▁launch ▁week . ▁The ▁purchase ▁of ▁rights ▁to ▁manufact ure ▁and ▁sell ▁c ass ettes ▁was ▁estimated ▁to ▁have ▁made ▁a ▁further ▁$ 2 0 ▁million ▁for ▁Columbia . ▁A ▁then - record ▁ 4 1 0 , 0 0 0 ▁initial ▁V HS ▁units ▁of ▁the ▁film ▁were ▁ordered ▁( ex ceed ed ▁a ▁few ▁months ▁later ▁by ▁Ram bo : ▁First ▁Blood ▁Part ▁II s ▁ 4 2 5 , 0 0 0 ▁unit ▁order ). ▁By ▁February ▁ 1 9 8 6 , ▁it ▁was ▁estimated ▁to ▁have ▁sold ▁ 4 0 0 , 0 0 0 ▁copies ▁and ▁earned ▁$ 3 2 ▁million ▁in ▁re venue , ▁making ▁it ▁the ▁third ▁best - s elling ▁V HS ▁of ▁ 1 9 8 |
5 , ▁after ▁Star ▁Tre k ▁III : ▁The ▁Search ▁for ▁Spo ck ▁( 4 2 5 , 0 0 0 ▁units , ▁$ 1 2 . 7 ▁million ) ▁and ▁B ever ly ▁Hills ▁Cop ▁( 1 . 4 ▁million ▁units ▁sold , ▁$ 4 1 . 9 ▁million ). ▁ ▁The ▁film ▁was ▁released ▁in ▁ 1 9 8 9 ▁on ▁Las er Dis c , ▁a ▁format ▁then ▁experien cing ▁a ▁res urg ence ▁in ▁popular ity . ▁Ghost b ust ers ▁was ▁released ▁as ▁a ▁one - dis c ▁CL V ▁version , ▁and ▁a ▁two - dis c ▁special ▁edition ▁C AV ▁version ▁featuring ▁deleted ▁scenes , ▁a ▁split - screen ▁demonstr ation ▁of ▁the ▁film ' s ▁effects , ▁the ▁screen play , ▁and ▁other ▁special ▁features . ▁In ▁a ▁ 1 9 9 9 ▁interview ▁for ▁the ▁first ▁DVD ▁release ▁of ▁the ▁film , ▁Re it man ▁admitted ▁that ▁he ▁had ▁not ▁been ▁involved ▁in ▁the ▁Las er Dis c ▁version ▁and ▁had ▁been ▁embar rass ed ▁by ▁the ▁visual ▁changes ▁that ▁" p ump ed ▁up ▁the ▁light ▁level ▁so ▁much ▁you ▁saw ▁all ▁the ▁mat te ▁lines ", ▁highlight ing ▁fla ws ▁in ▁the ▁special ▁effects . ▁Ghost b ust ers ▁was ▁also ▁the ▁first ▁full - length ▁film ▁to ▁be ▁released ▁on ▁a ▁USB ▁Flash ▁Drive ▁when ▁P N Y ▁Techn ologies ▁did ▁so ▁in ▁ 2 0 0 8 . ▁ ▁Bl u - ray ▁disc ▁ed itions ▁were ▁released ▁to ▁celebr |
ate ▁the ▁film ' s ▁ 2 5 th , ▁ 3 0 th , ▁and ▁ 3 5 th ▁anni vers aries ▁in ▁ 2 0 0 9 , ▁ 2 0 1 4 , ▁and ▁ 2 0 1 9 . ▁They ▁featured ▁rem aster ed ▁ 4 K ▁resolution ▁video ▁quality , ▁deleted ▁scenes , ▁alternate ▁takes , ▁fan ▁inter views ▁and ▁comment aries ▁by ▁crew members ▁and ▁actors ▁including ▁A yk ro yd , ▁Ram is , ▁Re it man , ▁and ▁Med j uck . ▁The ▁ 3 5 th - ann ivers ary ▁version ▁came ▁in ▁a ▁limited ▁edition ▁steel ▁book ▁cover ▁and ▁contained ▁un seen ▁foot age ▁including ▁the ▁deleted ▁" F ort ▁Det mer ring " ▁scene . ▁Parker ▁Jr .' s ▁" G host b ust ers " ▁received ▁special ▁edition ▁vin yl ▁record ▁releases , ▁one ▁as ▁a ▁g low ▁in ▁the ▁dark ▁record — the ▁other ▁a ▁white ▁record ▁presented ▁in ▁a ▁mar sh m allow - sc ented ▁jack et . ▁A ▁rem aster ▁of ▁Bern stein ' s ▁score ▁was ▁also ▁released ▁in ▁June ▁ 2 0 1 9 , ▁on ▁CD , ▁digital , ▁and ▁vin yl ▁formats . ▁It ▁includes ▁four ▁un re leased ▁tracks , ▁and ▁comment ary ▁by ▁Bern stein ' s ▁son ▁Peter . ▁ ▁Leg acy ▁Following ▁its ▁release ▁Ghost b ust ers ▁was ▁considered ▁a ▁phenomen on ▁and ▁highly ▁influ ential . ▁The ▁Ghost b ust ers s ▁theme ▁song ▁was ▁a ▁hit |
, ▁and ▁Hall owe en ▁of ▁ 1 9 8 4 ▁was ▁domin ated ▁by ▁children ▁dressed ▁as ▁Ghost b ust ers . ▁It ▁is ▁considered ▁one ▁of ▁the ▁first ▁block b ust ers ▁and ▁is ▁cred ited ▁with ▁ref ining ▁the ▁term ▁to ▁effectively ▁create ▁a ▁new ▁genre ▁that ▁mixed ▁comedy , ▁science ▁fiction , ▁horror , ▁and ▁thr ills . ▁Ghost b ust ers ▁also ▁confirmed ▁that ▁the ▁mer ch and ising ▁success ▁of ▁Star ▁Wars ▁( 1 9 7 7 ) ▁was ▁not ▁a ▁flu ke . ▁A ▁successful , ▁recogn izable ▁brand ▁could ▁be ▁used ▁to ▁launch ▁spin - offs , ▁helping ▁establish ▁a ▁business ▁model ▁in ▁the ▁film ▁industry ▁that ▁has ▁since ▁become ▁the ▁status ▁qu o . ▁Once ▁Ghost b ust ers ▁popular ity ▁was ▁clear , ▁the ▁studio ▁ag gress ively ▁cultiv ated ▁its ▁profile , ▁transl ating ▁it ▁into ▁mer ch and ising ▁and ▁other ▁media ▁such ▁as ▁television , ▁extending ▁its ▁prof itable ▁lifetime ▁long ▁after ▁the ▁film ▁had ▁left ▁the aters . ▁ ▁Entertainment ▁industry ▁obser vers ▁credit ▁Ghost b ust ers ▁and ▁Saturday ▁Night ▁Live ▁with ▁revers ing ▁the ▁industry ' s ▁negative ▁per ception ▁of ▁New ▁York ▁City ▁in ▁the ▁early ▁ 1 9 8 0 s . ▁We aver ▁said : ▁" I ▁think ▁it ▁was ▁a ▁love ▁letter ▁to ▁New ▁York ▁and ▁New ▁York ers . ▁Central ▁Park ▁West , ▁and ▁Ta vern ▁on ▁the ▁Green , ▁and ▁the ▁horses ▁in ▁the ▁park , ▁and ▁the ▁do orm an |
▁saying , ▁' Some one ▁brought ▁a ▁c oug ar ▁to ▁a ▁party ' — that ' s ▁so ▁New ▁York . ▁When ▁we ▁come ▁down ▁covered ▁with ▁mar sh m allow , ▁and ▁there ▁are ▁these ▁crow ds ▁of ▁New ▁York ers ▁of ▁all ▁types ▁and ▁descri ptions ▁che ering ▁for ▁us ▁as ▁a ▁New ▁York — it ▁was ▁one ▁of ▁the ▁most ▁moving ▁things ▁I ▁can ▁remember ." ▁It ▁is ▁similarly ▁cred ited ▁with ▁helping ▁dimin ish ▁the ▁divide ▁between ▁television ▁and ▁film ▁actors . ▁Tal ent ▁agent ▁Michael ▁O v itz ▁said ▁before ▁Ghost b ust ers ▁television ▁actors ▁were ▁never ▁considered ▁for ▁anything ▁but ▁minor ▁roles ▁in ▁film . ▁ ▁Last ing ▁critical ▁reception G host b ust ers s ▁positive ▁reception ▁has ▁last ed ▁well ▁beyond ▁its ▁release , ▁and ▁it ▁is ▁considered ▁one ▁of ▁the ▁most ▁important ▁comedy ▁films ▁ever ▁made . ▁On ▁its ▁ 3 0 th ▁anni versary ▁in ▁ 2 0 1 4 , ▁The ▁Hollywood ▁Re por ters ▁entertain ment ▁industry - v oted ▁ranking ▁named ▁it ▁the ▁sevent y - se vent h ▁best ▁film ▁of ▁all ▁time . ▁That ▁same ▁year , ▁Time ▁Out ▁r ated ▁Ghost b ust ers ▁five ▁out ▁of ▁five , ▁pra ising ▁Re it man ' s ▁direction , ▁Murray ' s ▁performance , ▁the ▁script , ▁the ▁special ▁effects , ▁and ▁the ▁sound track , ▁describing ▁the ▁film ▁as ▁a ▁" c aval cade ▁of ▁pure ▁joy ". ▁It ▁is ▁listed ▁in ▁the ▁film ▁reference |
▁book ▁ 1 0 0 1 ▁Mov ies ▁You ▁Must ▁See ▁Before ▁You ▁Die , ▁which ▁says : Big - bud get ▁special ▁effects ▁and ▁comedy ▁are ▁clever ly ▁inter w oven ▁in ▁this ▁fant asy ▁advent ure ... ▁it ▁is ▁Murray ’ s ▁Dr . ▁Peter ▁V enk man , ▁with ▁his ▁character ’ s ▁sle azy ▁charm ▁and ▁co ck iness , ▁who ▁ste als ▁every ▁scene ... ▁and ▁that ▁is ▁an ▁impress ive ▁achiev ement ▁indeed ▁when ▁you ▁consider ▁that ▁his ▁special ▁effects ▁cost ars ▁include ▁a ▁gig antic , ▁stamp eding ▁mar sh m allow ▁man ▁intent ▁on ▁reducing ▁Manh attan ▁to ▁a ▁p ile ▁of ▁sug ary ▁rub ble ▁that ▁would ▁ste al ▁the ▁movie ▁away ▁from ▁a ▁less ▁sk illed ▁com ic ▁talent . ▁Emp ires ▁reader - v oted ▁list ▁of ▁the ▁ 1 0 0 ▁Great est ▁Mov ies ▁placed ▁the ▁film ▁as ▁number ▁ 6 8 . ▁In ▁ 2 0 1 4 , ▁Rol ling ▁Stone ▁readers ▁voted ▁Ghost b ust ers ▁the ▁nin th ▁greatest ▁film ▁of ▁the ▁ 1 9 8 0 s . G host b ust ers ▁is ▁considered ▁one ▁of ▁the ▁best ▁films ▁of ▁the ▁ 1 9 8 0 s , ▁appearing ▁on ▁several ▁lists ▁based ▁on ▁this ▁metric , ▁including : ▁number ▁two ▁by ▁Film . com , ▁number ▁five ▁by ▁Time ▁Out , ▁number ▁six ▁by ▁Short List , ▁number ▁ 1 5 ▁by ▁Complex , ▁and ▁number ▁ 3 1 ▁by ▁Empire |
. ▁It ▁was ▁un rank ed ▁by ▁Films ite . ▁The ▁film ▁also ▁appeared ▁on ▁several ▁media ▁out lets ' ▁best ▁comedy ▁film ▁lists — rank ed ▁number ▁one ▁by ▁Entertainment ▁Week ly , ▁number ▁four ▁by ▁I GN , ▁number ▁ 1 0 ▁by ▁Empire , ▁number ▁ 2 5 ▁by ▁The ▁Daily ▁Te legraph , ▁and ▁number ▁ 4 5 ▁by ▁Rotten ▁Tomatoes . ▁Rotten ▁Tomatoes ▁also ▁listed ▁the ▁film ▁number ▁ 7 1 ▁on ▁its ▁list ▁of ▁ 2 0 0 ▁essential ▁mov ies ▁to ▁watch . ▁O thers ▁have ▁named ▁it ▁one ▁of ▁the ▁best ▁science - f iction ▁films , ▁best ▁science - f iction ▁com ed ies , ▁and ▁best ▁Summer ▁Block b ust ers . ▁ ▁In ▁ 2 0 0 1 , ▁the ▁American ▁Film ▁Institute ▁ranked ▁Ghost b ust ers ▁number ▁ 2 8 ▁on ▁its ▁ 1 0 0 ▁Years ... 1 0 0 ▁L augh s ▁list ▁recogn izing ▁the ▁best ▁comedy ▁films . ▁In ▁ 2 0 0 9 , ▁National ▁Review ▁ranked ▁Ghost b ust ers ▁number ▁ 1 0 ▁on ▁its ▁list ▁of ▁the ▁ 2 5 ▁Best ▁Conserv ative ▁Mov ies ▁of ▁the ▁Last ▁ 2 5 ▁Years ▁list , ▁not ing ▁the ▁" reg ulation - h appy " ▁Environment al ▁Prote ction ▁Agency ▁is ▁port rayed ▁as ▁the ▁villa in ▁and ▁it ▁is ▁the ▁private ▁sector ▁that ▁saves ▁the ▁day . ▁In ▁November ▁ 2 0 1 5 , ▁the ▁film ' s ▁screen play ▁was |
▁listed ▁number ▁ 1 4 ▁on ▁the ▁Writ ers ▁Gu ild ▁of ▁America ' s ▁ 1 0 1 ▁Fun ni est ▁Screen plays . ▁Contempor ary ▁review ▁aggreg ation ▁website ▁Rotten ▁Tomatoes ▁offers ▁a ▁ 9 7 % ▁appro val ▁rating ▁from ▁ 7 2 ▁critics — an ▁average ▁rating ▁of ▁ 8 . 1 4 / 1 0 , ▁which ▁provides ▁the ▁cons ensus , ▁" an ▁inf ect iously ▁fun ▁bl end ▁of ▁special ▁effects ▁and ▁comedy , ▁with ▁Bill ▁Murray ' s ▁h il ari ous ▁dead pan ▁performance ▁leading ▁a ▁cast ▁of ▁great ▁com ic ▁turns ". ▁The ▁film ▁also ▁has ▁a ▁score ▁of ▁ 7 1 ▁out ▁of ▁ 1 0 0 ▁on ▁Met ac rit ic ▁based ▁on ▁eight ▁critical ▁reviews , ▁indicating ▁" gener ally ▁favor able ▁reviews ." ▁ ▁Cultural ▁impact G host b ust ers ▁had ▁a ▁significant ▁impact ▁on ▁popular ▁culture ▁and ▁is ▁considered ▁a ▁highly ▁influ ential ▁film , ▁cred ited ▁with ▁invent ing ▁the ▁special - effect s ▁driven ▁comedy . ▁Its ▁basic ▁prem ise ▁of ▁a ▁particular ▁genre ▁mixed ▁with ▁comedy , ▁and ▁a ▁team ▁comb ating ▁an ▁other world ly ▁threat ▁has ▁been ▁rep licated ▁with ▁varying ▁degrees ▁of ▁success ▁in ▁films ▁like ▁Men ▁In ▁Black ▁( 1 9 9 7 ), ▁E volution ▁( 2 0 0 1 ), ▁The ▁Watch ▁( 2 0 1 2 ), ▁R . I . P . D . ▁( 2 0 1 3 ), ▁and ▁P ix els ▁( 2 |
0 1 5 ). ▁In ▁ 2 0 1 5 , ▁the ▁United ▁States ▁Library ▁of ▁Congress ▁selected ▁the ▁film ▁for ▁pres ervation ▁in ▁the ▁National ▁Film ▁Reg istry , ▁finding ▁it ▁" c ultur ally , ▁histor ically , ▁or ▁a est het ically ▁significant ". ▁Re it man ▁respond ed : ▁" It ’ s ▁an ▁honor ▁to ▁know ▁that ▁a ▁movie ▁that ▁begins ▁with ▁a ▁g host ▁in ▁a ▁library ▁now ▁has ▁a ▁spot ▁on ▁the ▁sh el ves ▁of ▁the ▁Library ▁of ▁Congress ." ▁ ▁In ▁ 1 9 8 4 , ▁the ▁Ghost b ust ers ▁phenomen on ▁was ▁referenced ▁across ▁do z ens ▁of ▁advert is ements ▁for ▁everything ▁from ▁air lines ▁to ▁dent istry ▁and ▁real ▁estate . ▁The ▁"- b ust ers " ▁suffix ▁became ▁a ▁common ▁term ▁used ▁at ▁both ▁local ▁and ▁national ▁stages , ▁being ▁applied ▁to ▁topics ▁like ▁the ▁United ▁States ▁national ▁budget ▁(" bud get b ust ers "), ▁agricult ure ▁(" c rop b ust ers "), ▁B - 5 2 s ▁(" nu ke b ust ers ") ▁san itation ▁(" l itter b ust ers "), ▁or ▁Pan ▁American ▁Airlines ▁(" price b ust ers "). ▁Similarly , ▁the ▁" no ▁g hosts " ▁logo ▁was ▁modified ▁to ▁protest ▁political ▁candidates ▁like ▁Ron ald ▁Re agan ▁and ▁Walter ▁Mond ale ▁to ▁Mic key ▁Mouse ▁by ▁striking ▁Disney ▁workers . ▁Other ▁contributions ▁to ▁the ▁cultural ▁lex icon ▁included ▁" Who ▁ya ▁g onna ▁call " ▁from ▁Parker ▁Jr ' |
s ▁" G host b ust ers ", ▁and ▁Murray ' s ▁ad lib ▁of ▁" this ▁ch ick ▁is ▁to ast " ▁against ▁G oz er ▁to ▁imply ▁that ▁she ▁was ▁finished ▁or ▁do omed ▁over ▁the ▁script ed ▁line ▁of ▁" I ' m ▁g onna ▁turn ▁this ▁gu y ▁into ▁to ast ". ▁This ▁is ▁thought ▁to ▁be ▁the ▁first ▁historical ▁usage ▁of ▁" to ast " ▁as ▁a ▁sl ang ▁term . G host b ust ers ▁quickly ▁developed ▁a ▁dedicated ▁fan ▁following ▁that ▁has ▁continued ▁to ▁th rive ▁in ▁the ▁years ▁since . ▁Despite ▁its ▁main stream ▁success , ▁it ▁is ▁considered ▁an ▁example ▁of ▁a ▁cult ▁block b uster — a ▁popular ▁film ▁with ▁a ▁dedicated ▁fan base . ▁It ▁is ▁popular ▁glob ally , ▁insp iring ▁fan ▁clubs , ▁fan - made ▁films , ▁art , ▁and ▁convent ions . ▁F ans ▁dressed ▁as ▁Ghost b ust ers ▁occasionally ▁burst ▁into ▁the ▁main ▁reading ▁room ▁of ▁the ▁New ▁York ▁Public ▁Library . ▁The ▁ 2 0 1 6 ▁crow df und ed ▁document ary ▁Ghost head s ▁follows ▁various ▁fans ▁of ▁the ▁series ▁and ▁details ▁the ▁impact ▁it ▁has ▁had ▁on ▁their ▁lives , ▁inter sp ers ed ▁with ▁inter views ▁from ▁crew ▁including ▁A yk ro yd , ▁Re it man , ▁and ▁We aver . ▁Mem or abil ia ▁from ▁the ▁film ▁is ▁popular , ▁with ▁a ▁screen - used ▁Pro ton ▁Pack ▁s elling ▁for ▁$ 1 6 9 , 0 0 0 |
▁at ▁a ▁ 2 0 1 2 ▁au ction . ▁In ▁ 2 0 1 7 , ▁a ▁newly ▁discovered ▁an k yl osa ur ▁foss il ▁was ▁named ▁Zu ul ▁cr ur iv ast ator ▁after ▁G oz er ' s ▁min ion . ▁ ▁Descri bing ▁why ▁Ghost b ust ers ▁popular ity ▁has ▁end ured , ▁Re it man ▁said ▁" k ids ▁are ▁all ▁wor ried ▁about ▁death ▁and ... ▁g host - like ▁things . ▁By ▁watching ▁Ghost b ust ers , ▁there ’ s ▁a ▁sense ▁that ▁you ▁can ▁control ▁this , ▁that ▁you ▁can ▁mit ig ate ▁it ▁somehow ▁and ▁it ▁doesn ’ t ▁have ▁to ▁be ▁that ▁fright ening . ▁It ▁became ▁this ▁movie ▁that ▁parents ▁liked ▁to ▁bring ▁their ▁k ids ▁to ▁— ▁they ▁could ▁appreciate ▁it ▁on ▁different ▁levels ▁but ▁still ▁watch ▁it ▁together ." G host b ust ers ▁was ▁turned ▁into ▁a ▁special - effect s ▁l aden ▁stage ▁show ▁at ▁Universal ▁Studios ▁Florida , ▁that ▁ran ▁from ▁ 1 9 9 0 ▁to ▁ 1 9 9 6 , ▁based ▁mainly ▁on ▁the ▁film ' s ▁final ▁battle ▁with ▁G oz er . ▁The ▁ 2 0 1 9 ▁Hall owe en ▁Hor ror ▁N ights ▁event ▁at ▁Universal ▁Studios ▁Hollywood ▁and ▁Universal ▁Studios ▁Florida ▁will ▁host ▁a ▁ha unted ▁ma ze ▁att raction ▁featuring ▁locations , ▁characters , ▁and ▁g hosts ▁from ▁the ▁film . ▁The ▁film ▁has ▁also ▁been ▁referenced ▁across ▁a ▁variety ▁of ▁media ▁including ▁film ▁( |
C as per ▁( which ▁featured ▁A yk ro yd ▁as ▁a ▁Ghost b uster ), ▁Z omb iel and , ▁Ex ▁Mach ina , ▁and ▁Re ady ▁Player ▁One ), ▁television ▁( Str anger ▁Things ), ▁and ▁video ▁games ▁( Family ▁Guy : ▁The ▁Qu est ▁for ▁St uff ▁and ▁Planet ▁Co aster ). ▁The ▁celebr atory ▁para de ▁at ▁the ▁film ' s ▁den ou ement ▁inspired ▁the ▁ending ▁of ▁the ▁ 2 0 1 2 ▁super h ero ▁film ▁The ▁Aven gers , ▁showing ▁the ▁world ▁celebr ating ▁the ▁e pon ym ous ▁team ' s ▁victory . ▁ ▁Mer ch and ise ▁Develop ing ▁mer ch and ise ▁for ▁a ▁film ▁was ▁still ▁a ▁relatively ▁new ▁practice ▁at ▁the ▁time ▁of ▁Ghost b ust ers ▁release , ▁and ▁it ▁was ▁only ▁following ▁the ▁success ▁of ▁Star ▁Wars ▁mer ch and ise ▁( which ▁had ▁earned ▁$ 2 . 6 ▁billion ▁by ▁ 1 9 8 9 ) ▁that ▁other ▁stud ios ▁attempted ▁to ▁duplicate ▁the ▁idea . ▁The ▁unexpected ▁success ▁of ▁Ghost b ust ers ▁meant ▁that ▁Columbia ▁did ▁not ▁have ▁a ▁compreh ensive ▁mer ch and ising ▁plan ▁in ▁place ▁to ▁fully ▁capital ize ▁on ▁the ▁film ▁at ▁the ▁peak ▁of ▁its ▁popular ity . ▁They ▁were ▁able ▁to ▁generate ▁additional ▁re venue , ▁however , ▁by ▁applying ▁the ▁popular ▁" no ▁g hosts " ▁logo ▁to ▁a ▁variety ▁of ▁products . ▁Much ▁of ▁the ▁mer ch and ising ▁success ▁came ▁from ▁lic ens ing ▁the ▁rights ▁to |
▁other ▁companies ▁based ▁on ▁the ▁later ▁success ▁of ▁the ▁ 1 9 8 6 ▁animated ▁spin - off ▁The ▁Real ▁Ghost b ust ers . ▁Indeed , ▁mer ch and ise ▁based ▁directly ▁on ▁the ▁film ▁did ▁not ▁initially ▁sell ▁well ▁until ▁The ▁Real ▁Ghost b ust ers , ▁which ▁on ▁its ▁own ▁helped ▁generate ▁up ▁to ▁$ 2 0 0 ▁million ▁in ▁re venue ▁in ▁ 1 9 8 8 , ▁the ▁same ▁year ▁the ▁Ghost b ust ers ▁pro ton ▁pack ▁was ▁the ▁most ▁popular ▁to y ▁in ▁the ▁United ▁Kingdom . ▁A ▁video ▁game ▁of ▁the ▁same ▁name ▁was ▁released ▁alongside ▁the ▁film ▁and ▁was ▁considered ▁a ▁success . ▁The ▁film ▁also ▁received ▁two ▁novel izations , ▁Ghost b ust ers ▁by ▁Larry ▁Mil ne ▁( re leased ▁with ▁the ▁film ), ▁and ▁Ghost b ust ers : ▁The ▁Super natural ▁Spect ac ular ▁by ▁Richard ▁Mu eller ▁( re leased ▁in ▁ 1 9 8 5 ). ▁" M aking ▁Ghost b ust ers ", ▁an ▁annot ated ▁script ▁by ▁Ram is , ▁was ▁released ▁in ▁ 1 9 8 5 . ▁ ▁In ▁the ▁years ▁since ▁its ▁release , ▁Ghost b ust ers ▁mer ch and ise ▁has ▁included : ▁sound track ▁albums , ▁action ▁figures , ▁books , ▁Hall owe en ▁cost umes , ▁various ▁LE GO ▁and ▁Play m obil ▁sets ▁including ▁the ▁E ct o - mobile ▁and ▁Fire house , ▁board ▁games , ▁slot ▁machines , ▁pin ball ▁machines , ▁b ob ble head |
s , ▁stat ues , ▁prop ▁rep lic as , ▁ne on ▁signs , ▁ice ▁cube ▁t ray s , ▁Min im ates , ▁coin ▁banks , ▁Fun ko ▁Pop ▁figures , ▁foot we ar , ▁l unch ▁boxes , ▁and ▁breakfast ▁c ere als . ▁A ▁S lim er - in sp ired ▁limited - ed ition ▁cit rus - f lav ored ▁Hi - C ' s ▁E ct o ▁C ool er ▁drink ▁first ▁released ▁in ▁ 1 9 8 7 , ▁was ▁one ▁of ▁the ▁more ▁popular ▁items , ▁and ▁did ▁not ▁ce ase ▁production ▁until ▁ 2 0 0 1 . ▁The ▁S lim er ▁character ▁became ▁icon ic ▁and ▁popular , ▁appearing ▁in ▁video ▁games , ▁to ys , ▁cart o ons , ▁sequ els , ▁to oth paste , ▁and ▁even ▁on ▁ju ice ▁boxes . ▁There ▁have ▁also ▁been ▁c ros so ver ▁products ▁including ▁com ic ▁books ▁and ▁to ys ▁that ▁combine ▁the ▁Ghost b ust ers ▁with ▁existing ▁properties ▁like ▁Men ▁in ▁Black , ▁Te en age ▁Mut ant ▁Nin ja ▁T urt les , ▁Trans form ers , ▁and ▁World ▁Wrestling ▁Entertainment . ▁ ▁Se qu els ▁and ▁spin - offs ▁ ▁The ▁film ' s ▁success ▁spawn ed ▁the ▁Ghost b ust ers ▁franch ise , ▁compr ising ▁animated ▁television ▁shows , ▁film ▁sequ els , ▁re bo ots , ▁video ▁games , ▁music , ▁and ▁a ▁wide ▁variety ▁of ▁mer ch and ise . ▁The ▁film ▁was ▁initially ▁followed ▁by |
▁the ▁ 1 9 8 6 ▁animated ▁television ▁series ▁The ▁Real ▁Ghost b ust ers ▁( l ater ▁renamed ▁S lim er ! ▁and ▁The ▁Real ▁Ghost b ust ers ). ▁It ▁ran ▁for ▁ 1 4 0 ▁episodes ▁over ▁seven ▁seasons ▁across ▁six ▁years , ▁and ▁itself ▁spawn ed ▁a ▁spin - off ▁S lim er - cent ric ▁sub - series , ▁com ic ▁books , ▁and ▁mer ch and ise . ▁It ▁was ▁followed ▁by ▁a ▁sequ el ▁series ▁with ▁ 1 9 9 7 ' s ▁Ext reme ▁Ghost b ust ers . ▁A ▁film ▁sequ el , ▁Ghost b ust ers ▁II , ▁was ▁released ▁in ▁ 1 9 8 9 . ▁It ▁earned ▁a ▁then - record - bre aking ▁non - hol iday ▁opening ▁week end ▁gross ▁of ▁$ 2 9 ▁million , ▁and ▁one ▁day ▁opening ▁gross ▁of ▁$ 1 0 ▁million , ▁with ▁an ▁estimated ▁two ▁million ▁more ▁people ▁watching ▁the ▁film ▁during ▁its ▁opening ▁week end ▁than ▁Ghost b ust ers . ▁Ult imately ▁it ▁earned ▁less ▁than ▁the ▁original ' s ▁total ▁gross ▁and ▁received ▁a ▁less ▁positive ▁critical ▁reception . ▁ ▁Despite ▁the ▁sequ el ' s ▁relative ▁failure , ▁the ▁name ▁recognition ▁and ▁popular ity ▁of ▁the ▁actors ▁and ▁their ▁characters ▁meant ▁a ▁third ▁film ▁was ▁still ▁purs ued . ▁The ▁concept ▁failed ▁to ▁progress ▁for ▁many ▁years ▁as ▁Murray ▁was ▁rel uct ant ▁to ▁particip ate . ▁In ▁a ▁ 2 0 0 9 ▁interview , ▁he ▁said : |
▁We ▁did ▁a ▁sequ el ▁and ▁it ▁was ▁sort ▁of ▁rather ▁uns atisf ying ▁for ▁me , ▁because ▁the ▁first ▁one ▁to ▁me ▁was ... ▁the ▁real ▁thing . ▁and ▁the ▁sequ el ... ▁They ’ d ▁written ▁a ▁whole ▁different ▁movie ▁than ▁the ▁one ▁[ initial ly ▁discussed ]. ▁And ▁the ▁special - effect s ▁guys ▁got ▁it ▁and ▁got ▁their ▁hands ▁on ▁it . ▁And ▁it ▁was ▁just ▁not ▁the ▁same ▁movie . ▁There ▁were ▁a ▁few ▁great ▁scenes ▁in ▁it , ▁but ▁it ▁wasn ’ t ▁the ▁same ▁movie . ▁So ▁there ’ s ▁never ▁been ▁an ▁interest ▁in ▁a ▁third ▁Ghost b ust ers , ▁because ▁the ▁second ▁one ▁was ▁disappoint ing ... ▁for ▁me , ▁anyway . ▁In ▁the ▁years ▁that ▁followed , ▁A yk ro yd ▁continued ▁his ▁attempts ▁to ▁develop ▁a ▁sequ el ▁throughout ▁the ▁ 1 9 9 0 s ▁to ▁the ▁early ▁ 2 0 1 0 s . ▁In ▁ 2 0 0 9 , ▁Ghost b ust ers : ▁The ▁Video ▁Game ▁was ▁released , ▁featuring ▁story ▁produced ▁in ▁consult ation ▁with ▁Ram is ▁and ▁A yk ro yd , ▁and ▁the ▁li ken esses ▁and ▁voice ▁acting ▁of ▁Murray , ▁A yk ro yd , ▁Ram is , ▁Hudson , ▁Pot ts , ▁and ▁A ther ton . ▁Set ▁two ▁years ▁after ▁Ghost b ust ers ▁II , ▁the ▁story ▁follows ▁the ▁Ghost b ust ers ▁training ▁a ▁rec ruit ▁( the ▁player ) ▁to ▁combat ▁a ▁g |
host ly ▁threat ▁related ▁to ▁G oz er . ▁The ▁game ▁was ▁well - rece ived , ▁ear ning ▁award ▁nomin ations ▁for ▁its ▁story t elling . ▁A yk ro yd ▁has ▁referred ▁to ▁the ▁game ▁as ▁being ▁" ess entially ▁the ▁third ▁movie ". ▁Ghost b ust ers : ▁The ▁Return ▁( 2 0 0 4 ) ▁was ▁the ▁first ▁in ▁a ▁planned - series ▁of ▁sequ el ▁nov els ▁before ▁the ▁publish er ▁went ▁out ▁of ▁business . ▁Several ▁Ghost b ust ers ▁com ic ▁books ▁have ▁continued ▁the ▁original ▁group ' s ▁advent ures ▁across ▁the ▁glo be ▁and ▁other ▁dimensions . ▁ ▁Following ▁Ram is ' s ▁death ▁in ▁ 2 0 1 4 , ▁Re it man ▁chose ▁to ▁no ▁longer ▁serve ▁as ▁director ▁for ▁a ▁potential ▁third ▁film . ▁He ▁decided ▁that ▁the ▁cre ative ▁control ▁shared ▁by ▁himself , ▁Ram is , ▁A yk ro yd , ▁and ▁Murray ▁was ▁holding ▁the ▁franch ise ▁back ▁and ▁negoti ated ▁a ▁deal ▁with ▁Columbia ▁to ▁sell ▁the ▁rights ; ▁he ▁spent ▁two ▁weeks ▁convin cing ▁Murray . ▁Re it man ▁refused ▁to ▁detail ▁the ▁deal ▁but ▁said ▁that ▁" the ▁cre ators ▁would ▁be ▁en rich ed ▁for ▁the ▁rest ▁of ▁our ▁lives , ▁and ▁for ▁the ▁rest ▁of ▁our ▁children ’ s ▁lives ". ▁He ▁and ▁A yk ro yd ▁set ▁up ▁a ▁production ▁company ▁called ▁Ghost ▁Corps ▁to ▁continue ▁and ▁expand ▁the ▁franch ise , ▁starting ▁with ▁the ▁ 2 0 1 6 ▁female - |
led ▁reboot ▁Ghost b ust ers ▁directed ▁by ▁Paul ▁Fe ig . ▁It ▁star red ▁Mel issa ▁Mc Car thy , ▁Krist en ▁Wi ig , ▁Les lie ▁Jones ▁and ▁Kate ▁McK inn on ▁as ▁the ▁tit ular ▁Ghost b ust ers . ▁Before ▁its ▁release , ▁the ▁film ▁was ▁bes et ▁by ▁controvers ies . ▁After ▁its ▁release ▁it ▁was ▁considered ▁a ▁box ▁office ▁bomb ▁with ▁mixed ▁reviews . ▁A ▁second , ▁direct ▁sequ el ▁to ▁the ▁original ▁two ▁films ▁was ▁announced ▁in ▁January ▁ 2 0 1 9 , ▁with ▁Re it man ' s ▁son ▁Jason ▁serving ▁as ▁director . ▁Tit led ▁Ghost b ust ers : ▁After life '' ▁and ▁written ▁by ▁Jason ▁Re it man ▁and ▁Gil ▁Ken an , ▁the ▁sequ el ▁is ▁scheduled ▁for ▁a ▁ 2 0 2 1 ▁release . ▁ ▁References ▁ ▁Bibli ography ▁Books ▁ ▁J ourn als ▁ ▁New sp apers ▁ ▁External ▁links ▁▁▁▁▁▁▁▁ ▁Category : English - language ▁films ▁Category : 1 9 8 4 ▁films ▁Category : 1 9 8 0 s ▁fant asy - com edy ▁films ▁Category : 1 9 8 0 s ▁g host ▁films ▁Category : 1 9 8 4 ▁horror ▁films ▁Category : 1 9 8 0 s ▁mon ster ▁mov ies ▁Category : American ▁films ▁Category : American ▁fant asy - com edy ▁films ▁Category : American ▁horror ▁films ▁Category : American ▁super natural ▁films ▁Category : American ▁g host ▁films ▁Category : American ▁mon ster ▁mov ies ▁Category : Fil ms |
▁scored ▁by ▁El mer ▁Bern stein ▁Category : Fil ms ▁directed ▁by ▁Ivan ▁Re it man ▁Category : Fil ms ▁featuring ▁pu ppet ry ▁Category : Fil ms ▁set ▁in ▁New ▁York ▁City ▁Category : Fil ms ▁using ▁stop - m otion ▁animation ▁Category : Fil ms ▁with ▁live ▁action ▁and ▁animation ▁Category : Fil ms ▁set ▁in ▁ 1 9 8 4 ▁Category : G host b ust ers ▁Category : Gi ant ▁mon ster ▁films ▁Category : Fil ms ▁with ▁screen plays ▁by ▁Dan ▁A yk ro yd ▁Category : Fil ms ▁with ▁screen plays ▁by ▁Harold ▁Ram is ▁Category : Un ited ▁States ▁National ▁Film ▁Reg istry ▁films ▁Category : Fil ms ▁adapted ▁into ▁video ▁games ▁Category : Fil ms ▁adapted ▁into ▁television ▁programs ▁Category : Col umb ia ▁Pictures ▁films ▁Category : Fil ms ▁produced ▁by ▁Ivan ▁Re it man ▁Category : American ▁super natural ▁horror ▁films ▁Category : American ▁comedy ▁horror ▁films <0x0A> </s> ▁Fish ery ▁Ocean ographic ▁Research ▁V essel ▁S agar ▁S amp ada ▁( FOR V ▁S agar ▁S amp ada ) ▁is ▁an ▁Indian ▁research ▁vessel ▁that ▁is ▁equ ipped ▁to ▁carry ▁out ▁mult id is cipl inary ▁research ▁in ▁ocean ography , ▁marine ▁bi ology ▁and ▁fish ery ▁science . ▁This ▁is ▁the ▁unique ▁facility ▁of ▁the ▁country ▁equ ipped ▁to ▁undert ake ▁ocean ography ▁and ▁fish eries ▁( dem ers al ) ▁in ▁the ▁same ▁platform . ▁ ▁The ▁vessel ▁is ▁currently ▁managed ▁and ▁operated ▁by ▁the ▁Centre ▁for ▁Marine ▁Living ▁Resources |
▁& ▁E col ogy ▁( C ML RE ), ▁Koch i , ▁a ▁research ▁inst itute ▁attached ▁to ▁the ▁Ministry ▁of ▁Earth ▁Sciences , ▁Government ▁of ▁India , ▁and ▁is ▁operated ▁from ▁Koch i . ▁FOR V ▁S agar ▁S amp ada ▁is ▁a ▁platform ▁for ▁inter dis cipl inary ▁exped itions ▁in ▁and ▁around ▁the ▁Indian ▁Ex clus ive ▁Econom ic ▁Zone , ▁and ▁in ▁International ▁waters ▁with ▁participation ▁from ▁various ▁institutions , ▁from ▁India ▁and ▁abroad . ▁ ▁Bu ilt ▁in ▁Den mark , ▁the ▁vessel ▁was ▁commission ed ▁at ▁M umb ai ▁in ▁ 1 9 8 4 . ▁As ▁of ▁March ▁ 2 0 2 0 , ▁FOR V ▁S agar ▁S amp ada ▁has ▁completed ▁ 3 9 7 ▁ocean ographic ▁exped itions , ▁which ▁includes ▁one ▁expedition ▁to ▁the ▁Southern ▁Ocean ▁in ▁the ▁winter ▁of ▁ 1 9 9 5 - 9 6 ▁for ▁surve ying ▁fish ery ▁resources ▁in ▁Ant ar ctic ▁waters ▁( K r ill ▁Ex ped ition , ▁FI K EX ▁ 1 9 9 5 ), ▁one ▁in ▁the ▁southern ▁Ocean ▁with ▁port ▁call ▁at ▁Maur it ius ▁and ▁one ▁in ▁the ▁Northern ▁Arab ian ▁Sea ▁with ▁port ▁call ▁at ▁Mus cat , ▁O man . ▁ ▁The ▁vessel ▁has ▁an ▁overall ▁length ▁of ▁ 7 2 . 5 m ▁and ▁is ▁ice ▁strength ened . ▁The ▁scientific ▁facilities ▁on board ▁includes , ▁Sea B ird ▁C TD ▁( Con duct ivity - Tem per ature - Dep th ) ▁Profil er |
, ▁Ac oust ic ▁Do pp ler ▁Current ▁Profil er ▁( 7 5 k Hz ), ▁Sk al ar ▁Auto analy ser ▁for ▁nut ri ent ▁analysis , ▁Auto Sal , ▁Multiple ▁Pl ank ton ▁Net ▁( MP N ), ▁Grab , ▁D red ge , ▁B ongo ▁Net ▁for ▁fish ▁egg ▁lar va e ▁and ▁surface ▁zo op l ank ton ▁collections , ▁V EL Net ▁for ▁Fish ▁egg / lar va e ▁collection ▁from ▁the ▁upper ▁ 1 0 m , ▁Multiple ▁Fre quency ▁E cho ▁Sound ers ▁( 2 0 0 k Hz , ▁ 1 2 0 k Hz ▁and ▁ 3 8 k Hz ), ▁Side ▁Sc an ▁Son ar , ▁Integr ated ▁T raw l ▁Inst rument ation ▁System , ▁Integr ated ▁Fish ▁F inding ▁System , ▁Autom ated ▁We ather ▁St ations , ▁Fac ilities ▁for ▁fish ing ▁operations ▁up ▁to ▁a ▁depth ▁of ▁, ▁facilities ▁for ▁sed iment ▁core ▁sample ▁collection ▁etc . ▁Rec ently ▁the ▁research ▁facilities ▁are ▁augment ed ▁with ▁Cont in ous ▁Under ▁way ▁Fish ▁E gg ▁Sam pler ▁( C U F ES ), ▁with ▁the ▁technical ▁support ▁of ▁NO AA , ▁USA , ▁ 2 ▁Big ▁eye ▁bin oc ular s ▁for ▁the ▁m amm al ▁watching ▁ ▁and ▁a ▁Th erm os alin ograph . ▁▁▁▁ ▁The ▁vessel ▁can ▁accommod ate ▁ 2 4 ▁research ▁personnel ▁and ▁ 3 5 ▁crew . ▁ ▁References ▁ ▁Category : 1 9 8 4 ▁ships ▁Category : Res earch |
▁vessels ▁of ▁India ▁Category : S cience ▁and ▁technology ▁in ▁Koch i <0x0A> </s> ▁refers ▁to ▁a ▁series ▁of ▁cer emon ies ▁in ▁S ō t ō ▁Z en ▁Buddh ism ▁where in ▁a ▁uns ui ▁receives ▁D har ma ▁transmission , ▁becoming ▁part ▁of ▁the ▁d har ma ▁line age ▁of ▁his ▁or ▁her ▁teacher . ▁ ▁Cer em ony ▁Sh i ho ▁is ▁done ▁" one - to - one ▁in ▁the ▁ab bot ' s ▁qu arters ▁( ho jo ) ". ▁ ▁Sh i ho , ▁or ▁den po , ▁is ▁the ▁D har ma ▁transmission ▁ceremony ▁where ▁the ▁student ▁inher its ▁the ▁D har ma , ▁and ▁is ▁emp ower ed ▁to ▁transmit ▁the ▁line age . ▁In ▁the ▁den po ▁ceremony , ▁the ▁student ▁becomes ▁an ▁ancest or ▁of ▁the ▁tradition ▁and ▁receives ▁a ▁ro be ▁and ▁bow l , ▁among ▁other ▁objects . ▁ ▁During ▁the ▁den po ▁ceremony ▁the ▁student ▁receives ▁a ▁Sh oshi ke ▁certificate , ▁which ▁gr ants ▁the ▁power ▁to ▁perform ▁Ju ka i , ▁and ▁the ▁documents ▁known ▁as ▁the ▁" three ▁reg alia ▁of ▁transmission ": ▁ ▁The ▁S ō t ō - sh u ▁also ▁conf ers ▁in ka ▁sh ō my ō ▁( or ▁in sh ō ) ▁"[ gr ant ing ] ▁the ▁se al ▁of ▁appro val ▁to ▁a ▁real ization ▁of ▁en light en ment ", ▁upon ▁students . ▁This ▁is ▁an ▁▁ ▁In ▁the ▁White ▁Pl um ▁As anga , ▁a ▁sh i ho |
▁ceremony ▁can ▁last ▁anywhere ▁from ▁one ▁to ▁three ▁weeks . ▁Prior ▁to ▁d har ma ▁transmission , ▁ ▁transmission ▁of ▁the ▁pre cept s ▁from ▁master ▁to ▁dis ci ple , ▁known ▁as ▁den ka i , ▁takes ▁place , ▁where ▁the ▁master ▁confir ms ▁that ▁the ▁student ▁is ▁actual izing ▁the ▁pre cept s ▁in ▁his / her ▁day - to - day ▁life . ▁In ▁this ▁ceremony ▁the ▁student ▁"... be come [ s ] ▁the ▁blood ▁of ▁the ▁Bud d ha ." ▁ ▁Status ▁In ▁the ▁emer ging ▁western ▁Z en - p ract ice , ▁after ▁following ▁completion ▁of ▁these ▁cer emon ies ▁the ▁teacher ▁becomes ▁independent . ▁ ▁This ▁is ▁quite ▁distinct ▁from ▁the ▁actual ▁practice ▁in ▁Japanese ▁S ō t ō - zen : ▁ ▁To ▁super v ise ▁training ▁mon ks , ▁further ▁qual ifications ▁are ▁required : ▁ ▁However , ▁in ▁some ▁Western ▁Z en ▁Cent ers , ▁such ▁as ▁the ▁San ▁Francisco ▁Z en ▁Center , ▁uns ui ▁in ▁the ▁process ▁of ▁ach ieving ▁D har ma ▁Trans mission ▁( Sh i ho ), ▁do ▁in ▁fact ▁spend ▁a ▁number ▁of ▁years ▁in ▁a ▁mon astic ▁training ▁hall ▁( T ass aj ara ▁Mon aster y ), ▁under going ▁app rent ices hip . ▁So ▁in ▁many ▁ways , ▁the ▁San ▁Francisco ▁Z en ▁Center ▁has ▁combined ▁Sh i ho ▁with ▁San zen ▁do jo ▁sh ike , ▁into ▁a ▁single ▁transmission ▁process . ▁ ▁See ▁also ▁D har ma ▁transmission ▁Z en ▁ranks |
▁and ▁hierarchy ▁M ush i ▁dok ugo ▁Ju ka i ▁ ▁References ▁ ▁Web ▁references ▁ ▁S ources ▁ ▁External ▁links ▁▁ ▁Ros hi ▁and ▁His ▁Te ach ers , ▁D har ma ▁Trans mission , and ▁the ▁Ro chester ▁Z en ▁Center ▁Line age ▁Ros hi ▁Bod hin ▁K j ol h ede ▁discuss es ▁line age ▁and ▁D har ma ▁transmission . ▁ ▁Com ing ▁Down ▁from ▁the ▁Z en ▁Cloud s : A ▁Crit ique ▁of ▁the ▁Current ▁State ▁of ▁American ▁Z en ▁Stuart ▁L ach s ▁critic izes ▁D har ma ▁transmission ▁in ▁Z en ▁▁ ▁Ten ▁points ▁to ▁keep ▁in ▁mind ▁about ▁d har ma ▁transmission ▁Abb ot ▁Mu ho ▁clar ifies ▁the ▁meaning ▁of ▁Sh ih ō ▁in ▁Japanese ▁S ō t ō ▁Z en ▁ ▁Category : Z en ▁Buddh ist ▁termin ology <0x0A> </s> ▁Z ep kow ▁is ▁a ▁village ▁and ▁a ▁former ▁municipality ▁ ▁in ▁the ▁Me ck len burg ische ▁Se en pl atte ▁district , ▁in ▁Me ck len burg - Vor p omm ern , ▁Germany . ▁Since ▁May ▁ 2 0 1 9 , ▁it ▁is ▁part ▁of ▁the ▁new ▁municipality ▁E ld etal . ▁ ▁References ▁ ▁Category : Be z irk ▁Ne ub r andenburg ▁Category : Form er ▁municipal ities ▁in ▁Me ck len burg - Vor p omm ern <0x0A> </s> ▁Mark o ▁Mir gor od ský ▁( born ▁ 4 ▁November ▁ 1 9 9 8 ) ▁is ▁a ▁Slov ak ▁sl alom ▁can oe |
ist ▁who ▁has ▁competed ▁at ▁the ▁international ▁level ▁since ▁ 2 0 1 3 . ▁He ▁compet es ▁in ▁the ▁C 1 ▁event ▁and ▁is ▁once ▁World ▁U 2 3 ▁Champion ▁( 2 0 1 7 ) ▁and ▁twice ▁World ▁Junior ▁Champion ▁( 2 0 1 5 ▁& ▁ 2 0 1 6 ). ▁ ▁Mir gor od ský ▁won ▁a ▁silver ▁medal ▁in ▁the ▁C 1 ▁team ▁event ▁at ▁the ▁ 2 0 1 8 ▁European ▁C ano e ▁Sl alom ▁Championships , ▁alongside ▁Mich al ▁Mart ik án ▁and ▁Alexander ▁S la f kov ský . ▁ ▁References ▁ ▁Category : 1 9 9 8 ▁birth s ▁Category : L iving ▁people ▁Category : S lov ak ▁male ▁can oe ists ▁Category : C ano e ists ▁at ▁the ▁ 2 0 1 4 ▁Summer ▁Youth ▁Olympics ▁Category : S ports people ▁from ▁Li pt ov ský ▁Mik ul áš <0x0A> </s> ▁M ild red ▁Bl ount ▁( born ▁ 1 9 0 7 ) ▁was ▁an ▁American ▁mill iner ▁noted ▁for ▁her ▁cre ations ▁for ▁cele brit ies ▁and ▁people ▁in ▁high ▁society . ▁ ▁Career ▁Bl ount ' s ▁interest ▁in ▁mill in ery ▁grew ▁out ▁of ▁her ▁time ▁working ▁at ▁Madame ▁Cla ir ' s ▁D ress ▁and ▁Hat ▁Sh op ▁in ▁New ▁York ▁City . ▁She ▁and ▁her ▁sister , ▁who ▁was ▁a ▁dress maker , ▁opened ▁their ▁own ▁dress ▁and ▁hat ▁shop ▁aim ed ▁at ▁serving ▁wealth y ▁New ▁York ers . ▁ ▁After ▁Bl ount |
' s ▁designs ▁were ▁shown ▁at ▁the ▁ 1 9 3 9 ▁New ▁York ▁World ' s ▁Fair , ▁ ▁her ▁career ▁took ▁off . ▁She ▁was ▁asked ▁to ▁design ▁h ats ▁for ▁the ▁films ▁G one ▁with ▁the ▁Wind ▁and ▁E aster ▁Par ade ▁as ▁well ▁as ▁for ▁the ▁cover ▁of ▁the ▁August ▁ 1 9 4 2 ▁Lad ies ' ▁Home ▁Journal . ▁Later ▁in ▁the ▁ 1 9 4 0 s , ▁she ▁ran ▁a ▁hat ▁shop ▁in ▁B ever ly ▁Hills , ▁California . ▁Her ▁clients ▁included ▁Joan ▁C raw ford , ▁Ros al ind ▁Russell , ▁Gl oria ▁V ander b ilt , ▁Marian ▁Anderson , ▁and ▁others . ▁▁ ▁She ▁was ▁the ▁first ▁African ▁American ▁member ▁of ▁the ▁Mot ion ▁Pictures ▁Cost um ers ▁Union , ▁which ▁allowed ▁her ▁to ▁work ▁in ▁film ▁stud ios . ▁ ▁Bl ount ▁reported ly ▁died ▁in ▁ 1 9 7 4 ▁in ▁Los ▁Angeles , ▁California . ▁ ▁References ▁ ▁External ▁links ▁ ▁M ild red ▁Bl ount ▁covered ▁in ▁In ▁Her ▁Foot steps ▁by ▁An net te ▁Mad den . ▁ ▁Ph oto ▁of ▁M ild red ▁Bl ount ▁with ▁Gl oria ▁V ander b ilt ▁in ▁the ▁September ▁ 1 9 9 2 ▁Eb ony ▁magazine . ▁ ▁H ats ▁designed ▁by ▁M ild red ▁Bl ount ▁held ▁at ▁the ▁California ▁African ▁American ▁Museum . ▁ ▁Category : 1 9 0 7 ▁birth s ▁Category : 1 9 7 4 ▁death s ▁Category : A fr ican - |
American ▁fashion ▁design ers ▁Category : American ▁fashion ▁design ers ▁Category : Mill in ers <0x0A> </s> ▁The ▁Oracle ▁Encyclop ædia ▁is ▁a ▁five - volume ▁general ▁en cyc lopedia . ▁It ▁was ▁published ▁in ▁ 1 8 9 5 ▁in ▁London ▁by ▁George ▁New nes ▁and ▁edited ▁by ▁R . ▁W . ▁Eg erton ▁East wick . ▁ ▁References ▁▁ ▁Category : Reference ▁works ▁in ▁the ▁public ▁domain ▁Category : English - language ▁en cyc loped ias ▁Category : B rit ish ▁en cyc loped ias ▁Category : 1 8 9 5 ▁non - f iction ▁books ▁Category : 1 9 th - century ▁en cyc loped ias <0x0A> </s> ▁Joseph ▁Charles , ▁Jr . ▁( born ▁January ▁ 6 , ▁ 1 9 4 4 ) ▁is ▁an ▁American ▁Democratic ▁Party ▁politician , ▁who ▁served ▁in ▁the ▁New ▁Jersey ▁Senate ▁from ▁ 2 0 0 2 ▁to ▁ 2 0 0 3 , ▁where ▁he ▁represented ▁the ▁ 3 1 st ▁Legisl ative ▁District . ▁He ▁had ▁also ▁served ▁in ▁the ▁lower ▁house ▁of ▁the ▁New ▁Jersey ▁Legisl ature , ▁the ▁General ▁Assembly , ▁from ▁ 1 9 8 2 ▁to ▁ 2 0 0 2 . ▁He ▁currently ▁serves ▁as ▁a ▁Judge ▁of ▁the ▁New ▁Jersey ▁Super ior ▁Court , ▁a ▁position ▁he ▁was ▁appointed ▁to ▁in ▁ 2 0 0 3 ▁by ▁then ▁G ov . ▁James ▁McG ree vey . ▁ ▁Charles ▁res igned ▁from ▁his ▁seat ▁in ▁the ▁Senate ▁effective ▁August ▁ 1 8 , ▁ 2 |
0 0 3 , ▁and ▁was ▁replaced ▁by ▁L . ▁Har vey ▁Smith . ▁ ▁He ▁served ▁in ▁the ▁Senate ▁on ▁the ▁Labor ▁Committee ▁( as ▁Co - Ch air ) ▁and ▁the ▁Bud get ▁and ▁App ropri ations ▁Committee . ▁ ▁While ▁in ▁the ▁Assembly , ▁he ▁served ▁as ▁Minor ity ▁Le ader ▁Pro ▁Temp ore ▁from ▁ 1 9 9 7 ▁to ▁ 2 0 0 1 , ▁Minor ity ▁Bud get ▁Officer ▁from ▁ 1 9 9 8 ▁to ▁ 1 9 9 9 , ▁Ass istant ▁Minor ity ▁Le ader ▁from ▁ 1 9 9 4 ▁to ▁ 1 9 9 5 , ▁Associ ate ▁Minor ity ▁Le ader ▁from ▁ 1 9 9 2 ▁to ▁ 1 9 9 3 ▁and ▁again ▁from ▁ 1 9 9 6 ▁to ▁ 1 9 9 7 , ▁and ▁as ▁Ass istant ▁Major ity ▁Le ader ▁from ▁ 1 9 9 0 ▁to ▁ 1 9 9 1 . ▁He ▁has ▁been ▁an ▁att orney ▁with ▁the ▁firm ▁of ▁Ash ley ▁and ▁Charles , ▁and ▁served ▁as ▁a ▁Deput y ▁Att orney ▁General ▁from ▁ 1 9 7 0 ▁to ▁ 1 9 7 1 . ▁ ▁Charles ▁graduated ▁with ▁a ▁B . A . ▁from ▁R ut gers ▁University ▁in ▁Chem istry , ▁and ▁was ▁awarded ▁a ▁J . D . ▁from ▁R ut gers ▁School ▁of ▁Law – New ark . ▁ ▁References ▁ ▁External ▁links ▁, ▁New ▁Jersey ▁Legisl ature . ▁ ▁Category : 1 9 4 4 |
▁birth s ▁Category : L iving ▁people ▁Category : A fr ican - American ▁state ▁legisl ators ▁in ▁New ▁Jersey ▁Category : M embers ▁of ▁the ▁New ▁Jersey ▁General ▁Assembly ▁Category : New ▁Jersey ▁Democr ats ▁Category : New ▁Jersey ▁state ▁sen ators ▁Category : Pol it icians ▁from ▁Jersey ▁City , ▁New ▁Jersey ▁Category : R ut gers ▁University ▁al umn i <0x0A> </s> ▁L ász ló ▁N agy ▁may ▁refer ▁to : ▁▁ ▁L ász ló ▁N agy ▁( Sc out ing ) ▁( 1 9 2 1 – 2 0 0 9 ), ▁Secretary ▁General ▁of ▁the ▁World ▁Organ ization ▁of ▁the ▁Sc out ▁Mov ement ▁from ▁ 1 9 6 8 – 1 9 8 5 ▁ ▁L ász ló ▁N agy ▁( figure ▁sk ater ) ▁( 1 9 2 7 – 2 0 0 5 ), ▁figure ▁sk ater ▁ ▁L ász ló ▁N agy ▁( polit ician ), ▁in ▁the ▁List ▁of ▁obser vers ▁to ▁the ▁European ▁Parliament ▁for ▁Slov ak ia , ▁ 2 0 0 3 – 0 4 ▁ ▁L ász ló ▁N agy ▁( po et ) ▁( 1 9 2 5 – 1 9 7 8 ), ▁Hung arian ▁poet ▁ ▁L ász ló ▁N agy ▁( football er ) ▁( born ▁ 1 9 4 9 ), ▁football ▁( s occer ) ▁player ▁ ▁L ász ló ▁N agy ▁( hand ball er ) ▁( born ▁ 1 9 8 1 ), ▁Hung arian ▁hand ball ▁player ▁ ▁L ász |
ló ▁N agy ▁( cano e ist ), ▁Hung arian ▁s print ▁can oe ist ▁ ▁L ász ló ▁Moh oly - N agy ▁( 1 8 9 5 – 1 9 4 6 ), ▁Hung arian ▁artist , ▁designer ▁and ▁Bau haus ▁instruct or ▁ ▁L ász ló ▁B . ▁N agy ▁( born ▁ 1 9 5 8 ), ▁Hung arian ▁politician <0x0A> </s> ▁The ▁b acter ial ▁cell ▁wall ▁provides ▁strength ▁and ▁rig id ity ▁to ▁counter act ▁internal ▁os m otic ▁pressure , ▁and ▁protection ▁against ▁the ▁environment . ▁The ▁pe pt id og ly can ▁layer ▁gives ▁the ▁cell ▁wall ▁its ▁strength , ▁and ▁helps ▁maintain ▁the ▁overall ▁shape ▁of ▁the ▁cell . ▁The ▁basic ▁pe pt id og ly can ▁structure ▁of ▁both ▁Gram - pos itive ▁and ▁Gram - negative ▁b acter ia ▁compr ises ▁a ▁sheet ▁of ▁g ly can ▁ch ains ▁connected ▁by ▁short ▁cross - link ing ▁pol ype pt ides . ▁B ios yn thesis ▁of ▁pe pt id og ly can ▁is ▁a ▁multi - step ▁( 1 1 - 1 2 ▁steps ) ▁process ▁compr ising ▁three ▁main ▁stages : ▁▁ ▁formation ▁of ▁U DP - N - ac et yl m ur am ic ▁acid ▁( U DP M ur NA c ) ▁from ▁N - ac et yl gl uc os am ine ▁( G l c NA c ). ▁ ▁addition ▁of ▁a ▁short ▁pol ype pt ide ▁chain ▁to ▁the ▁U DP M ur NA c |
. ▁ ▁addition ▁of ▁a ▁second ▁Gl c NA c ▁to ▁the ▁dis ac char ide - pent ape pt ide ▁building ▁block ▁and ▁transport ▁of ▁this ▁unit ▁through ▁the ▁cy top las mic ▁memb rane ▁and ▁incorpor ation ▁into ▁the ▁growing ▁pe pt id og ly can ▁layer . ▁ ▁Stage ▁two ▁involves ▁four ▁key ▁Mur ▁u bi quit in ▁lig ase ▁en zym es : ▁Mur C ▁( EC ), ▁Mur D ▁( EC ), ▁Mur E ▁( EC ) ▁ ▁and ▁Mur F ▁( EC ). ▁These ▁four ▁Mur ▁lig ases ▁are ▁responsible ▁for ▁the ▁success ive ▁add itions ▁of ▁L - al an ine , ▁D - gl ut am ate , ▁mes o - d iam in op im el ate ▁or ▁L - ly s ine , ▁and ▁D - al any l - D - al an ine ▁to ▁U DP - N - ac et yl m ur am ic ▁acid . ▁All ▁four ▁Mur ▁lig ases ▁are ▁top olog ically ▁similar ▁to ▁one ▁another , ▁even ▁though ▁they ▁display ▁low ▁sequence ▁identity . ▁They ▁are ▁each ▁composed ▁of ▁three ▁domains : ▁an ▁N - term inal ▁Ross mann - fold ▁domain ▁responsible ▁for ▁binding ▁the ▁U DP M ur NA c ▁substr ate ; ▁a ▁central ▁domain ▁( similar ▁to ▁ATP - binding ▁domains ▁of ▁several ▁ATP ases ▁and ▁G TP ases ); ▁and ▁a ▁C - term inal ▁domain ▁( similar ▁to ▁di h ydro fol ate ▁re duct ase ▁fol d ) |
▁that ▁appears ▁to ▁be ▁associated ▁with ▁binding ▁the ▁incoming ▁am ino ▁acid . ▁The ▁conser ved ▁sequence ▁mot ifs ▁found ▁in ▁the ▁four ▁Mur ▁en zym es ▁also ▁map ▁to ▁other ▁members ▁of ▁the ▁Mur ▁lig ase ▁family , ▁including ▁fol yl poly gl ut am ate ▁synth et ase , ▁cy an oph yc in ▁synth et ase ▁and ▁the ▁cap B ▁en zym e ▁from ▁Bac ill ales . ▁ ▁This ▁family ▁includes ▁U DP - N - ac et yl m ur am ate - L - al an ine ▁lig ase ▁( M ur C ), ▁U DP - N - ac et yl m ur amo yl al any l - D - gl ut am ate - 2 , 6 - d iam in op im el ate ▁lig ase ▁( M ur E ), ▁and ▁U DP - N - ac et yl m ur amo yl - tri pe pt ide - D - al any l - D - al an ine ▁lig ase ▁( M ur F ). ▁This ▁entry ▁also ▁includes ▁fol yl poly gl ut am ate ▁synth ase ▁that ▁trans fers ▁gl ut am ate ▁to ▁fol yl poly gl ut am ate ▁and ▁cy an oph yc in ▁synth et ase ▁that ▁catal ys es ▁the ▁b ios yn thesis ▁of ▁the ▁cy an ob acter ial ▁reserve ▁material ▁multi - L - argin yl - poly - L - as part ate ▁( cy an oph yc in |
). ▁ ▁References ▁ ▁Category : Pro te in ▁domains ▁Category : EC ▁ 6 . 3 . 2 ▁Category : En zym es ▁of ▁known ▁structure <0x0A> </s> ▁S ale h ▁Moh ammed ▁Jer bo ▁Jam us , ▁commonly ▁referred ▁to ▁as ▁S ale h ▁Jer bo , ▁was ▁the ▁Chief - of - St aff ▁of ▁the ▁S LA - Un ity . ▁He ▁was ▁ind icted ▁by ▁the ▁International ▁C riminal ▁Court ▁to ▁be ▁tried , ▁together ▁with ▁Ab dal lah ▁Band a , ▁for ▁three ▁counts ▁of ▁war ▁cr imes ▁alleg edly ▁committed ▁during ▁the ▁H ask an ita ▁ra ids ▁against ▁African ▁Union ▁peace keep ers ▁within ▁the ▁context ▁of ▁the ▁Dar fur ▁conflict ▁in ▁Sud an . ▁The ▁case ▁against ▁him ▁was ▁dropped ▁without ▁pre jud ice ▁after ▁his ▁apparent ▁death ▁on ▁ 1 9 ▁April ▁ 2 0 1 3 . ▁ ▁B irth ▁and ▁eth nic ity ▁ ▁According ▁to ▁information ▁from ▁the ▁International ▁C riminal ▁Court , ▁S ale h ▁Jer bo ▁was ▁born ▁on ▁ 1 ▁January ▁ 1 9 7 7 ▁in ▁Sh ag ag ▁Kar o , ▁North ▁Dar fur . ▁He ▁is ▁a ▁member ▁of ▁the ▁Zag h awa ▁tribe . ▁ ▁H ask an ita ▁ra ids ▁▁ ▁On ▁the ▁evening ▁of ▁ 2 9 ▁September ▁ 2 0 0 7 , ▁groups ▁led ▁by ▁Band a ▁and ▁Jer bo ▁are ▁alleg ed ▁to ▁have ▁attacked ▁African ▁Union ▁Mission ▁in ▁Sud an ▁( AM IS ) ▁soldiers ▁at ▁the |
▁H ask an ita ▁Military ▁Group ▁Site ▁in ▁U mm ▁K ad ada ▁in ▁North ▁Dar fur . ▁A ▁total ▁of ▁ 1 2 ▁AM IS ▁peace ▁keep ers ▁were ▁killed . ▁ ▁I CC ▁proceed ings ▁ ▁After ▁the ▁Dar fur ▁situation ▁was ▁referred ▁to ▁the ▁I CC ▁by ▁the ▁United ▁Nations ▁Security ▁Council ▁through ▁its ▁Resol ution ▁ 1 5 9 3 ▁on ▁ 3 1 ▁March ▁ 2 0 0 5 ▁the ▁Dar fur ▁conflict ▁has ▁been ▁under ▁the ▁juris diction ▁of ▁the ▁I CC . ▁The ▁Pro sec utor ▁of ▁the ▁Court ▁opened ▁an ▁investigation ▁on ▁ 6 ▁June ▁ 2 0 0 5 . ▁ ▁On ▁ 2 7 ▁August ▁ 2 0 0 9 , ▁summ ons es ▁to ▁appear ▁were ▁issued ▁against ▁Band a ▁and ▁Jer bo ▁under ▁se al . ▁They ▁were ▁un se aled ▁on ▁ 1 5 ▁June ▁ 2 0 1 0 , ▁immediately ▁before ▁the ▁two ▁suspect s ' ▁volunt ary ▁initial ▁appearance ▁before ▁the ▁Court . ▁They ▁were ▁charged ▁with ▁three ▁counts ▁of ▁war ▁cr imes : ▁violence ▁to ▁life , ▁pill aging ▁and ▁attack ing ▁peace keep ers . ▁ ▁After ▁the ▁confirm ation ▁of ▁charges ▁hearing ▁on ▁ 8 ▁December ▁ 2 0 1 0 , ▁the ▁charges ▁were ▁confirmed ▁and ▁the ▁suspect s ▁committed ▁to ▁trial ▁on ▁ 7 ▁March ▁ 2 0 1 1 . ▁ ▁Report ▁of ▁death ▁ ▁On ▁ 2 2 ▁April ▁ 2 0 1 3 , ▁Radio ▁D ab anga ▁reported |
▁that ▁Jer bo ▁was ▁killed ▁in ▁a ▁battle ▁on ▁ 1 9 ▁April . ▁The ▁battle ▁involved ▁fighting ▁between ▁the ▁Justice ▁and ▁Equ ality ▁Mov ement ▁( J EM ) ▁and ▁the ▁Justice ▁and ▁Equ ality ▁Mov ement – B ash ar ▁( J EM – B ash ar ), ▁the ▁spl inter ▁group ▁in ▁which ▁Jer bo ▁held ▁the ▁position ▁of ▁deput y ▁general ▁commander . ▁A ▁sp ok esp erson ▁from ▁J EM – B ash ar ▁confirmed ▁the ▁death , ▁but ▁one ▁from ▁J EM ▁decl ined ▁to ▁do ▁so . ▁The ▁I CC ▁dropped ▁the ▁charges ▁against ▁him ▁as ▁a ▁result ▁of ▁his ▁apparent ▁death , ▁without ▁pre jud ice , ▁so ▁that ▁the ▁case ▁against ▁him ▁would ▁re open ▁if ▁he ▁were ▁found ▁to ▁still ▁be ▁alive . ▁ ▁References ▁▁ ▁Category : 1 9 7 7 ▁birth s ▁Category : 2 0 1 3 ▁death s ▁Category : Pe ople ▁of ▁the ▁War ▁in ▁Dar fur ▁Category : Pe ople ▁ind icted ▁by ▁the ▁International ▁C riminal ▁Court ▁Category : Pe ople ▁ind icted ▁for ▁war ▁cr imes ▁Category : Pe ople ▁from ▁North ▁Dar fur ▁Category : S ud an ese ▁military ▁personnel ▁Category : Z agh awa ▁people <0x0A> </s> ▁Per fect ▁Friday ▁is ▁a ▁British ▁bank ▁he ist ▁film ▁released ▁in ▁ 1 9 7 0 , ▁directed ▁by ▁Peter ▁Hall . ▁It ▁stars ▁Urs ula ▁And ress ▁as ▁Lady ▁Brit t ▁Dor set , ▁Stanley ▁Baker ▁as ▁Mr ▁Graham , ▁David ▁Warner ▁as |
▁Lord ▁Nicholas ▁Dor set ▁and ▁T . ▁P . ▁McK en na ▁as ▁Smith . ▁ ▁Plot ▁Mr . ▁Graham , ▁an ▁assistant ▁bank ▁manager ▁who ▁works ▁in ▁the ▁West ▁End ▁of ▁London , ▁is ▁diss atisf ied ▁with ▁his ▁b oring ▁life . ▁ ▁He ▁meets ▁Lady ▁Brit t ▁Dor set , ▁a ▁spend th rift ▁arist ocrat . ▁They ▁dev ise ▁a ▁plan , ▁along ▁with ▁her ▁husband , ▁Lord ▁Nicholas ▁Dor set , ▁to ▁ste al ▁£ 3 0 0 , 0 0 0 ▁from ▁the ▁bank . ▁ ▁Their ▁plan ▁is ▁to ▁be ▁en act ed ▁on ▁the ▁day ▁that ▁the ▁manager ▁plays ▁golf . ▁It ▁involves ▁Lord ▁Dor set , ▁pos ing ▁as ▁a ▁bank ▁inspect or , ▁subst itut ing ▁counter fe it ▁money ▁for ▁real ▁money ▁which ▁he ▁places ▁in ▁Brit t ' s ▁depos it ▁box . ▁ ▁The ▁scheme ▁almost ▁fails ▁when ▁a ▁real ▁inspect or ▁arriv es , ▁but ▁a ▁second ▁opportunity ▁ar ises , ▁and ▁Lady ▁Dor set ▁abs cond s ▁with ▁the ▁funds . ▁ ▁She ▁fails ▁to ▁show ▁up ▁for ▁the ▁scheduled ▁division ▁of ▁the ▁lo ot , ▁however , ▁and ▁Graham ▁and ▁Lord ▁Dor set ▁realize ▁that ▁they ▁have ▁been ▁double ▁crossed . ▁Und a unted , ▁they ▁begin ▁to ▁plan ▁another ▁rob ber y ▁for ▁the ▁following ▁year . ▁ ▁Cast ▁ ▁Stanley ▁Baker ▁as ▁Mr . ▁Graham ▁▁ ▁Urs ula ▁And ress ▁as ▁Lady ▁Brit t ▁Dor set ▁▁ ▁David ▁Warner ▁as ▁Lord ▁Nicholas ▁" N ick |
" ▁Dor set ▁▁ ▁P atience ▁Col lier ▁as ▁N anny ▁▁ ▁T . ▁P . ▁McK en na ▁as ▁Smith ▁▁ ▁David ▁W aller ▁as ▁Williams ▁▁ ▁Joan ▁Ben ham ▁as ▁Miss ▁Wel sh ▁▁ ▁Julian ▁Or ch ard ▁as ▁Thompson ▁▁ ▁Tr ish a ▁Mort imer ▁as ▁Jan et ▁▁ ▁Anne ▁Tir ard ▁as ▁Miss ▁Marsh ▁▁ ▁Johnny ▁Brig gs ▁as ▁Tax i ▁Driver ▁▁ ▁Fred ▁Griff ith s ▁as ▁Tax i ▁Driver ▁ ▁Sid ney ▁Jenn ings ▁as ▁Tax i ▁Driver ▁ ▁Hugh ▁Hall iday ▁as ▁Cy cl ist ▁ ▁Max ▁Fa ulk ner ▁as ▁Str ong ▁Room ▁Guard ▁▁▁▁ ▁Car leton ▁Hob bs ▁as ▁E lder ly ▁Pe er ▁▁ ▁Eric ▁Long worth ▁as ▁House ▁of ▁L ords ▁M essen ger ▁ ▁Brian ▁Pe ck ▁as ▁Ch auff eur ▁▁▁ ▁Howard ▁Lang ▁as ▁Bank ▁Commission aire ▁▁ ▁Patrick ▁Jordan ▁as ▁Bank ▁Guard ▁ ▁Mal col m ▁Joh ns ▁as ▁Swiss ▁Boy ▁Friend ▁ ▁Gar field ▁Morgan ▁as ▁ 1 st ▁Airport ▁Official ▁ ▁D erek ▁C ox ▁as ▁ 2 nd ▁Airport ▁Official ▁▁ ▁Barbara ▁Og il vie ▁as ▁Woman ▁Airport ▁Official ▁▁ ▁Georg ina ▁Sim pson ▁as ▁Ste ward ess ▁ ▁Production ▁Dim it ri ▁de ▁Gr un wald ▁had ▁set ▁up ▁a ▁new ▁production ▁and ▁distribution ▁cons ort ium , ▁the ▁International ▁Film ▁Cons ort ium , ▁a ▁co ▁op ▁of ▁independent ▁film ▁distrib utors ▁throughout ▁the ▁world . ▁They ▁raised ▁fin ance ▁for ▁a ▁series ▁of ▁films ▁produced ▁by ▁London ▁Screen plays ▁Ltd ▁- ▁The ▁Mc |
Master s , ▁Per fect ▁Friday , ▁The ▁Virgin ▁and ▁the ▁Gy ps y , ▁The ▁Last ▁Gren ade , ▁and ▁Connect ing ▁Ro oms . ▁De ▁Gr un wald ▁described ▁Per fect ▁Friday ''' s ▁commercial ▁pro sect s ▁as ▁" safe - ish ". ▁ ▁The ▁movie ▁was ▁produced ▁by ▁Stanley ▁Baker ▁who ▁later ▁said ▁of ▁it : ▁I ▁think ▁he ▁[ Peter ▁Hall ] ▁will ▁produce ▁film ▁work ▁as ▁interesting ▁as ▁what ▁he ' s ▁done ▁on ▁the ▁stage ... ▁What ▁I ▁like ▁about ▁Per fect ▁Friday ▁is ▁that ▁everybody ▁lies ▁to ▁each ▁other ▁and ▁everybody ▁bel ieves ▁each ▁other ' s ▁lies . ▁I ▁don ' t ▁know ▁if ▁the ▁audience ▁real ises ▁it , ▁but ▁every ▁time ▁the ▁characters ▁speak ▁to ▁each ▁other , ▁they ' re ▁lying . ▁Director ▁Peter ▁Hall ▁said ▁the ▁sex ▁scenes ▁" w ere ▁meant ▁to ▁make ▁fun ▁of ▁all ▁those ▁sex ▁films ▁that ▁steam ▁up ▁the ▁West ▁End ." ▁ ▁Release ▁Gene ▁S isk el ▁called ▁the ▁film ▁" special ▁entertain ment ." ▁The ▁New ▁York ▁Times '' ▁said ▁" Mr . ▁Hall ▁has ▁made ▁an ▁intellig ent ▁and ▁quietly ▁fun ny ▁film ▁about ▁three ▁ecc ent rics , ▁who ▁are ▁as ▁attract ively ▁written ▁as ▁they ▁are ▁played ." ▁ ▁References ▁ ▁External ▁links ▁▁▁ ▁Per fect ▁Friday ▁at ▁T CM DB ▁ ▁Category : 1 9 7 0 ▁films ▁Category : 1 9 7 0 s ▁crime ▁comedy ▁films ▁Category : B rit ish ▁films ▁Category : B rit ish |
▁crime ▁comedy ▁films ▁Category : Fil ms ▁directed ▁by ▁Peter ▁Hall ▁Category : B rit ish ▁he ist ▁films ▁Category : Fil ms ▁shot ▁at ▁P ine wood ▁Studios ▁Category : Fil ms ▁set ▁in ▁England ▁Category : Fil ms ▁set ▁in ▁London ▁Category : 1 9 7 0 s ▁he ist ▁films <0x0A> </s> ▁Rah mat abad ▁( , ▁also ▁Roman ized ▁as ▁Ra ḩ mat ā b ā d ) ▁is ▁a ▁village ▁in ▁Gar ms ir ▁R ural ▁District , ▁in ▁the ▁Central ▁District ▁of ▁Ar dest an ▁County , ▁Is fah an ▁Province , ▁Iran . ▁At ▁the ▁ 2 0 0 6 ▁census , ▁its ▁population ▁was ▁ 5 0 1 , ▁in ▁ 1 2 3 ▁families . ▁ ▁References ▁▁ ▁Category : Pop ulated ▁places ▁in ▁Ar dest an ▁County <0x0A> </s> ▁The ▁B . C . ▁( B rit ish ▁Columbia ) ▁roll ▁is ▁a ▁M aki - z ush i ▁( roll ), ▁a ▁kind ▁of ▁s ush i ▁containing ▁bar bec ued ▁sal mon ▁and ▁c uc umber . ▁It ▁is ▁prepared ▁as ▁an ▁u ram aki ▁roll , ▁a ▁style ▁of ▁s ush i ▁in ▁which ▁the ▁rice ▁is ▁on ▁the ▁outside . ▁O ften ▁the ▁roll ▁contains ▁bar bec ued ▁sal mon ▁skin ▁co ated ▁in ▁a ▁sweet ▁sau ce . ▁There ▁are ▁many ▁variations ▁of ▁this ▁roll ▁including ▁bar bec ued ▁sal mon ▁skin ▁with ▁mayo . ▁ ▁The ▁name ▁comes ▁from ▁the ▁fact ▁that ▁British ▁Columbia ▁is ▁famous ▁for |
▁wild ▁Pacific ▁sal mon . ▁Many ▁s ush i ▁restaur ants ▁in ▁B . C . ▁serve ▁the ▁B . C . ▁roll ▁as ▁a ▁part ▁of ▁their ▁menu . ▁The ▁V ancouver - based ▁Japanese ▁chef ▁H ide kaz u ▁To jo ▁created ▁the ▁B . C . ▁roll ▁in ▁ 1 9 7 4 ▁when ▁he ▁used ▁sal mon ▁skin ▁in ▁place ▁of ▁the ▁traditional ▁an ago ▁( s alt - water ▁e el ), ▁which ▁was ▁difficult ▁to ▁obtain ▁in ▁the ▁West ▁Coast . ▁ ▁References ▁ ▁Category : S ush i ▁Category : C uis ine ▁of ▁British ▁Columbia ▁Category : Sal mon ▁d ishes <0x0A> </s> ▁E ck erson ▁House ▁is ▁a ▁historic ▁house ▁located ▁at ▁ 2 8 0 ▁Ch est nut ▁R idge ▁Road ▁in ▁Mont v ale , ▁Ber gen ▁County , ▁New ▁Jersey , ▁United ▁States . ▁The ▁house ▁was ▁built ▁in ▁ 1 7 9 6 ▁and ▁was ▁added ▁to ▁the ▁National ▁Register ▁of ▁Historic ▁Places ▁on ▁January ▁ 1 0 , ▁ 1 9 8 3 . ▁ ▁See ▁also ▁National ▁Register ▁of ▁Historic ▁Places ▁list ings ▁in ▁Ber gen ▁County , ▁New ▁Jersey ▁ ▁References ▁ ▁External ▁links ▁ ▁Category : H ouses ▁on ▁the ▁National ▁Register ▁of ▁Historic ▁Places ▁in ▁New ▁Jersey ▁Category : H ouses ▁completed ▁in ▁ 1 7 9 6 ▁Category : H ouses ▁in ▁Ber gen ▁County , ▁New ▁Jersey ▁Category : Mont v ale , ▁New ▁Jersey ▁Category : National ▁Register ▁of ▁Historic ▁Places ▁in |
▁Ber gen ▁County , ▁New ▁Jersey ▁Category : New ▁Jersey ▁Register ▁of ▁Historic ▁Places ▁Category : H istor ic ▁American ▁Build ings ▁Survey ▁in ▁New ▁Jersey ▁Category : 1 7 9 6 ▁establish ments ▁in ▁New ▁Jersey <0x0A> </s> ▁The ▁ 2 0 1 1 ▁F IM ▁Dans k ▁Metal ▁Nord ic ▁Speed way ▁Grand ▁Prix ▁was ▁the ▁nin th ▁race ▁of ▁the ▁ 2 0 1 1 ▁Speed way ▁Grand ▁Prix ▁season . ▁It ▁took ▁place ▁on ▁September ▁ 1 0 ▁at ▁the ▁Speed way ▁Center ▁stad ium ▁in ▁V oj ens , ▁Den mark . ▁ ▁R iders ▁ ▁The ▁Speed way ▁Grand ▁Prix ▁Commission ▁nominated ▁B jar ne ▁Ped ers en ▁as ▁Wild ▁Card , ▁and ▁Michael ▁Je ps en ▁J ensen ▁and ▁Mik kel ▁Mich elsen ▁both ▁as ▁Track ▁Res erves . ▁The ▁Draw ▁was ▁made ▁on ▁September ▁ 9 . ▁ ▁Results ▁ ▁Grand ▁Prix ▁was ▁won ▁by ▁G rag ▁Han cock ▁who ▁beat ▁Jason ▁Cr ump , ▁Fred rik ▁Lind gren ▁and ▁Chris ▁Harris ▁in ▁the ▁final . ▁ ▁He at ▁details ▁ ▁He at ▁after ▁heat ▁▁ ▁( 5 9 , 5 4 ) ▁Lind b äck , ▁J ons son , ▁Gol lob , ▁Hol ta ▁( F ) ▁ ▁( 5 9 , 2 3 ) ▁Han cock , ▁Say f ut din ov , ▁B . ▁Ped ers en , ▁N . ▁Ped ers en ▁( X ) ▁ ▁( 5 9 , 3 9 ) ▁B jer re , ▁H amp el |
, ▁Ł ag uta , ▁Harris ▁ ▁( 5 9 , 9 1 ) ▁H older , ▁Lind gren , ▁Cr ump , ▁Ko łod zie j ▁ ▁( 6 0 , 7 2 ) ▁Han cock , ▁H older , ▁Ł ag uta , ▁Gol lob ▁ ▁( 5 8 , 8 9 ) ▁J ons son , ▁Say f ut din ov , ▁Harris , ▁Ko łod zie j ▁ ▁( 6 0 , 2 8 ) ▁N . ▁Ped ers en , ▁Lind gren , ▁B jer re , ▁Hol ta ▁ ▁( 6 0 , 5 3 ) ▁H amp el , ▁Cr ump , ▁Lind b äck , ▁B . ▁Ped ers en ▁ ▁( 6 0 , 1 6 ) ▁B jer re , ▁Cr ump , ▁Say f ut din ov , ▁Gol lob ▁ ▁( 6 0 , 0 7 ) ▁H amp el , ▁J ons son , ▁Han cock , ▁Lind gren ▁ ▁( 6 0 , 5 9 ) ▁Ł ag uta , ▁B . ▁Ped ers en , ▁Hol ta , ▁Ko łod zie j ▁ ▁( 6 0 , 8 8 ) ▁N . ▁Ped ers en , ▁Lind b äck , ▁H older , ▁Harris ▁ ▁( 6 0 , 9 2 ) ▁Gol lob , ▁N . ▁Ped ers en , ▁Ko łod zie j , ▁H amp el ▁ ▁( 6 0 , 8 4 ) ▁B jer re , ▁H older , ▁J ons son , |
▁B . ▁Ped ers en ▁ ▁( 6 0 , 6 3 ) ▁Han cock , ▁Cr ump , ▁Harris , ▁Hol ta ▁ ▁( 6 0 , 8 5 ) ▁Lind gren , ▁Ł ag uta , ▁Say f ut din ov , ▁Lind b äck ▁ ▁( 6 1 , 0 7 ) ▁Harris , ▁Lind gren , ▁Gol lob , ▁B . ▁Ped ers en ▁ ▁( 6 1 , 1 7 ) ▁Cr ump , ▁Ł ag uta , ▁N . ▁Ped ers en , ▁J ons son ▁ ▁( 6 1 , 0 3 ) ▁Say f ut din ov , ▁Hol ta , ▁H older , ▁H amp el ▁ ▁( 6 0 , 9 1 ) ▁Han cock , ▁B jer re , ▁Ko łod zie j , ▁Lind b äck ▁ ▁Sem i - final s : ▁ ▁( 6 1 , 1 0 ) ▁Han cock , ▁H older , ▁N . ▁Ped ers en , ▁Say f ut din ov ▁ ▁( 6 1 , 1 3 ) ▁Cr ump , ▁Lind gren , ▁B jer re , ▁Ł ag uta ▁▁ ▁the ▁Final : ▁ ▁( 6 1 , 0 4 ) ▁Han cock ▁( 6 ▁points ), ▁Cr ump ▁( 4 ), ▁Lind gren ▁( 2 ), ▁H older ▁( 0 ) ▁ ▁The ▁intermediate ▁classification ▁ ▁See ▁also ▁▁ ▁motor cycle ▁speed way ▁ ▁References ▁▁ ▁Speed way ▁Grand ▁Prix ▁of ▁Nord ic ▁Nord ic ▁ 2 0 1 1 |
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.