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55 Central Park West

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55 Central Park West
Spook Central
Also Known as The Shandor [1]
Shandor Building
Dana's apartment
Spook Central
Appeared in Ghostbusters
Ghostbusters: The Video Game (Realistic Versions)
IDW Comics
Address 55 Central Park West,
New York, NY 10023
Founded Early 20th Century A.D.

55 Central Park West (also known as The Shandor, Shandor Building, Dana's apartment and "Spook Central"), is the super-conductive antenna and portal to our realm, created by the Cult of Gozer to bring forth their "divine" master Gozer himself in his Destructor Form.[2]

HistoryEdit

Design and ConstructionEdit

According to research at the Hall of Records, Ray was able to discern that the structural details of the apartment building were very unusual. Examples include the use of a magnesium-tungsten alloy. In Tobin's Spirit Guide, Egon also discovered that the architect of the building, Ivo Shandor, was also the leader of a group of "Gozer Worshipers" a religious cult that worshiped the same Sumerian deity Gozer. He was, in addition to an architect, a doctor. The group he lead had close to 1,000 followers, and they conducted rituals, including unnecessary surgeries, which were intended to bring about the end of the world. In conclusion, the building's design, even in the elements used to construct it, were all designed to harness spiritual turbulence.

GhostbustersEdit

In 1984, Dana Barrett and Louis Tully both lived on the 22nd floor of the building. The apartment building was soon became home to many events which culminated in the arrival of Gozer. The Terror Dogs broke out of a pair of Gothic statues placed on the roof, and then proceeded to inhabit Dana and Louis.

After this, the two, now under the identities of Zuul, The Gatekeeper and Vinz Clortho, The Keymaster, met in Dana's apartment following the explosion at the Firehouse. Afterwards both Dana and Louis (under the control of Zuul and Vinz Clortho) transformed into the Terror Dog monsters after opening the doorway for the coming of Gozer who appeared and confronted the Ghostbusters.

Afterwards, Gozer assumed its new Destructor Form: the Stay Puft Marshmallow Man, after being chosen by Ray. Finally, the Ghostbusters reversed the particle flow and caused the biggest interdimensional crossrip since the Tunguska blast of 1909. Dana and Louis changed back into human beings.

Dana's ApartmentEdit

Dana lived in room number 2206 on the 22nd floor. One day, after returning to her place, Dana witnessed several eggs jump off a carton and fry atop her kitchen counter. She also caught a glimpse of the Temple of Gozer and Zuul inside her refrigerator. She left completely frightened and sought the Ghostbusters for help. Peter investigated with the apartment with a Ghost Sniffer but detected nothing.

On the night she had arranged a date with Dr. Peter Venkman to discuss the details of her case, Dana was attacked inside her apartment by Zuul. This time, however, Dana was unable to escape and was possessed and inhabited by the Terror Dog. Peter later arrived at her place to encounter the possessed Dana and discover that she now called herself Zuul, The Gatekeeper and was now seeking The Keymaster. She spoke of the coming of Gozer and led him to her bedroom, attempting to seduce him under the false impression that he was The Keymaster. Peter rebuffed her advances and an angry Dana spoke in a demonic voice before levitating off her bed, growling and snarling monstrously in frustration. Dana was then sedated by Peter, lying unconscious on her bed while Peter headed back to the Firehouse and finally waking up when the storage grid exploded setting all the captured ghosts free.

With full view from her bay windows, the possessed Dana watched with a contented evil grin as the ghosts and supernatural energy filled the skyline; blowing up her windows with a powerful roar as the energy approached her building leaving a path for The Keymaster to find her. After the explosion Dana awaited the successful arrival of The Keymaster, embracing in a passionate kiss before she led him to Gozer's Temple atop the rooftop of her building where they completed the ritual to open the gates for the coming of Gozer. A hidden stairwell was taken by the pair to directly access the roof. The Ghostbusters later accessed this stairwell when they arrived to save the world.

Louis' ApartmentEdit

Louis Tully lived in room number 2202 on the 22nd floor across the hall and two doors down from Dana. For some reason, the door to his apartment kept locking on him. Soon after Dana was possessed by Zuul, Louis was attacked by Vinz Clortho during a party he held to celebrate his fourth anniversary as an accountant. Louis fled his apartment with the Terror Dog in hot pursuit. The police conducted a brief investigation of Louis' apartment.

Ghostbusters: The Video GameEdit

After the Ghostbusters return to the Firehouse with the Gozerian Codex, they attempt to make sense of the Mandala. Ilyssa Selwyn reveals a connection it has with Ivo Shandor and his firm's renovations and public works. Egon Spengler mentions Dana and Central Park West.[3] Ray also later mentions both when the team discusses the Mandala upon returning from the Natural History Museum.[4] When the Ghostbusters arrive at Central Park, they see Psychokinetic Atmospheric Influence coming from Shandor's mausoleum. Winston answers Egon's hint that it looks very similar to what happened atop Central Park West when Gozer first arrived. [5] In the finale of the Shandor Incident, the Ghostbusters head to Central Park. As they drive into the park, 55 Central Park West is in background.

Secondary Canon HistoryEdit

Koza'Rai recalled the death of his son, Gozer, and the scene of the Ghostbusters crossing the streams atop Central Park West is seen. Years later, part of Ray's precognitive episode took place atop the building. The next morning, Idulnas manifested in one of the units and grabbed its occupant, Jim Silver. Ray was later brought to the roof by Idulnas to participate in Gozer's rite of change. The other Ghostbusters arrived by helicopter and confronted Idulnas. The battle quickly turned into another rematch against the Stay Puft Marshmallow Man. From room 2206's window, Ray captured Gozer with the Megatrap. The resulting explosion of Stay Puft left the building in ruin once again.

DevelopmentEdit

From a script stand-point, deciding what was going on at 55 Central Park West was difficult. [6]

The crew went with their second choice for a filming location, 55 Central Park West. [7] The building didn't have an upper section that was called for in the script so the upper stories and temple were added through matte paintings. [8] [9] Eight stories were added. [10] In order to augment the building, the taller building behind it was painted out entirely and the one on the left was shortened. [11] For closer shots, a 15 foot miniature was constructed. Its construction was supervised by Mark Stetson. [12]

Just before shooting, the co-op at 55 Central Park West informed the crew they didn't want the location to be filmed. Eventually, the crew talked them into reconsidering and giving permission to shoot. [13] For filming the first scene of the building, it was originally intended to start at the roof and pan down to Dana Barrett. Since there was no temple, the pan would have required a complicated matte composite shot. Instead, the shot was done from a reverse angle with the camera looking down past one of the stone Terror Dogs, which was just a painting. [14] John DeCuir and his team redressed the building and added breakaway awnings for the earthquake later in the movie. [15]

DeCuir took great care and detail in designing and constructing the set for Dana's and Louis' apartments and the hallway in between at The Burbank Studios. [16] DeCuir preferred to base his sets in reality even though it was cheaper to piece sets together. The single set also made it easier for quick adjustments. The night before shooting, Ivan Reitman and crew asked for certain changes. The prop team worked through the night and add everything ready to next morning. [17] The set was built 6 feet off the soundstage floor so that operators could work from underneath and move the Terror Dogs. [18] After going through planning stages of camera angles, several sections were deemed unnecessary and never constructed such as Dana's bathroom or Louis' patio. [19] Others sections were faithfully reproduced, like Dana's terrace. [20] DeCuir also made sure there were no obstructions underneath parts of the set that could interfere with filming, such as hidden mechanisms for Dana's armchair added by Chuck Gaspar's team. [21] [22] Other sections, like Louis' wall and door were made for easy breakaway later on when Vinz Clortho tears through them. [23] For the scene when the possessed Dana stares at the waves of ghosts, Gaspar's team filled the wall with balsawood bricks and breakaway glass. 15 air mortars were mounted and filled with wet sand. Once fired under pressure, it would behave like invisible shotgun pellets and blow out the wall and windows. [24]

Not all of DeCuir's designs went through. The secret staircase leading up to the Temple of Gozer was rejected by Ivan Reitman. Reitman felt it was too out of place and seemed like something out of a Frankenstein movie. In no time, DeCuir came up with a stairwell in tune with the art deco styling of the building. [25] Photo backdrops were exactly what you would see from the actual building out of any given window. Still photographs were even shot from the roof and all the way around the building, at day and night. These were enlarged into backlit backdrops. [26]

When principal photography ended in New York, the scene where Peter arrives for his date was shot at a set on Columbia Ranch, intended primarily for the sinkhole scene. The doorman was replaced with a Los Angeles based actor who looked like the New York actor used. [27] The sinkhole scene was shot both at the New York location and in Los Angeles at the Columbia Ranch. A hydraulically-operated collapsing street and a copy of the ground floor exterior of the apartment was constructed at the ranch. [28] While at the New York set, no damage could done to the street so it had to be dressed. Large jutting slabs of simulated asphalt and a chopped police car were added. [29] During filming at the New York location, street traffic was brought to a standstill, shutting down a good deal of Mahattan. [30] When Gozer causes debris to rain down on the people down below, in reality, the hundreds of extras were being hit by bits of styrofoam released from a giant crane. [31]

The Ghostbusters' walk up the building's 35 flights were done at the Biltmore Hotel, which were only two flights. The other 32 flights were added in postproduction by the Entertainment Effects Group's matte department. [32] The scene when the Ghostbusters arrive in Dana's blown up apartment was done in a soundstage in Los Angeles. This shot was rear-projected into the open area of the matte painting. During matte photography, the camera started with a tight shot on the building's unpainted corner and pull back to the full master shot. [33] [34]

Real LifeEdit

The building at 55 Central Park West, also known as the Ghostbusters Building, is a housing cooperative located in Manhattan, New York City, U.S.A. The building was built in 1929 and designed by the firm Schwartz and Gross. Both the interior and the exterior possess unique architectural features that set the structure apart from its peers. The building is considered a contributing property within the Central Park West Historic District, which is listed on the National Register of Historic Places.

TriviaEdit

  • According to the August 5, 1983 draft of the movie script, 55 Central Park West was the only building built by Ivo Shandor. He completed it in 1923 and lived in its penthouse. [35] [36]
  • According to the October 7, 1983 draft of the movie script, another resident on the same floor as Dana and Louis was named Mrs. Blum. She is only noted as fleeing with an armload of small appliances. [37]
  • In the final shooting script, the building was stated to have 35 flights of stairs. [38]
  • The first choice for the Shandor building was 1 Fifth Avenue because it was felt the Washington Square Arch would have been a suitable landmark for the Stay Puft Marshmallow Man to walk past. Plans were dropped when the co-op committee for the building voted against its use in the film, according to Michael Gross. [39] [40]
  • At least one of the gargoyles was added in optically to the Shandor building. [41]
  • When Peter shows up at the Shandor building for his date, the exterior was filmed in a back lot of Columbia Studios. [42]
  • The filming of the Ghostbusters arrival at the Shandor building caused major traffic in Manhattan, effectively shutting down most the area. [43] Dan Aykroyd got to meet science fiction writer Isaac Asimov during this shoot, but Asimov was angry about the traffic. [44] Police had to arrest an obnoxious motorist during the shoot. [45]
  • The stairwell was from the Biltmore Hotel. There were only two flights of stairs at the Biltmore Hotel. The rest were added in post-production. [46] [47] [48]
  • The Ghostbusters: Storybook refers to it as The Shandor, an old fashioned skyscraper designed and built not long after the First World War.[49][50][51]
  • In the Ghostbusters II August 5, 1988 draft, Ray alluded to the building on page 5 at the birthday party and on page 20 at Ray's Occult. [52] [53]
  • In Ghostbusters: The Video Game, Realistic Versions, the building itself makes a cameo appearance during the cutscene showcasing the Ghostbusters driving though Central Park. The building appears much shorter in height than shown in the movie and has a new rooftop. Obviously, the building was renovated shortly after the events of the first film which lead to its change in appearance.
    • The new appearance in the game is actually how the building always looked in reality. The Gozerian rooftop was added via matte paintings during production of the first film.
  • On page six of Ghostbusters Volume 2 Issue #11, 55 Central Park West and both Dana and Louis' units 2206 and 2202 is written on three Post-It Notes on the Spectral Almanac.
  • On page seven of Ghostbusters Volume 2 Issue #12, Peter mentions 55 Central Park West in jest.
  • On page 10 of Ghostbusters Volume 2 Issue #14, Dana's front door matches the design motif of the front doors of apartments in 55 Central Park West.
  • On page 13 of Ghostbusters Volume 2 Issue #18, the etc. sign that appeared in Louis' apartment in the first movie makes a non-canon cameo on a wall in the cafe.

AppearancesEdit

Primary CanonEdit

Secondary CanonEdit

ReferencesEdit

  1. Digby, Anne (1984). Ghostbusters Storybook, p. 14. Scholastic Inc., Broadway, NY USA, ISBN 0590336843. Narrator says: "Dana was a very beautiful young woman, a professional cellist, and she lived in a penthouse on the twenty-second floor of the Shandor apartments on Central Park West. The Shandor was an old-fashioned skyscraper, designed and built not long after the First World War by an obscure architect called Ivo Shandor."
  2. Ray Stantz (1984). Ghostbusters(1999) (DVD ts. 1:10:52-1:10:58, 1:11:28-1:11:36). Columbia TriStar Home Video. Ray says: "Cold riveted girders with cores of pure selenium...The whole building is a huge super-conductive antenna that was designed and built expressly for the purpose of pulling in and concentrating spiritual turbulence. Your girlfriend, Pete, lives in the corner penthouse of Spook Central."'
  3. GBTVGReferenceDanaBarrett.jpg
  4. GBTVGReferenceDanaAndCentralParkWest02.jpg
  5. GBTVGReferenceDanaAndCentralParkWestRV03.jpg
  6. Shay, Don (November 1985). Making Ghostbusters, p. 12. New York Zoetrope, New York NY USA, ISBN 0918432685. Ivan Reitman says: "The hardest thing, though, was deciding what was going on in that damn apartment building on Central Park West."
  7. Shay, Don (November 1985). Making Ghostbusters, p. 41 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Joe Medjuck says: "Our second choice -- which we finally ended up using -- was at 55 Central Park West. That building had a great view of the park, but without the additional vantage points for shooting."
  8. Shay, Don (November 1985). Making Ghostbusters, p. 40. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "Since the actual structure had a roofline decidedly unlike the one called for in the script, the upper section of the building -- even though ill-defined from such a distance -- was matted out of the live-action photography and rerendered in the form of a painting by Matthew Yuricich."
  9. Shay, Don (November 1985). Making Ghostbusters, p. 56 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "While a real building in New York provided the requisite lower floors, the upper stories and temple rooftop were added alternately via matte paintings, miniatures and full-size sets."
  10. Ivan Reitman (2014). Ghostbusters 1 & 2 Gift Set (2014) "Time Is But A Window: Ghostbusters II and Beyond" (DVD ts. 12:05-12:11). Columbia Pictures. Ivan says: "We added eight stories to the building that's actually there at 65th and Park -- Central Park West."
  11. Shay, Don (November 1985). Making Ghostbusters, p. 59 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "To accentuate the structure, the taller building behind it was painted out entirely and the one to the left was shortened."
  12. Shay, Don (November 1985). Making Ghostbusters, p. 59 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "Closer views employed a fifteen-foot miniature constructed under the supervision of Mark Stetson."
  13. Beyond the Marquee Joe Medjuck Interview 9/15/14
  14. Shay, Don (November 1985). Making Ghostbusters, p. 40. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "As storyboarded by Thom Enriquez, the original concept was to start at the roof and then pan down the building to Dana as she enters from the street. Since the rooftop temple was not actually on the building, however, the pan would have entailed a very complex matte composite. In the end, the shot was achieved from a reverse angle, with the camera looking down past one of the stone Terror Dogs -- in this case, just a painting -- to Dana entering the apartment building below."
  15. Shay, Don (November 1985). Making Ghostbusters, p. 41 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Joe Medjuck says: "John DeCuir redressed the building, adding awnings to the front and other things that could be broken off later during the earthquake and explosion. In reality, someone like Dana Barrett could never have afforded to live in that apartment complex, but it looks good in the movie."
  16. Shay, Don (November 1985). Making Ghostbusters, p. 45 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "The sprawling apartment house interiors -- two key apartment and the hallway between them -- extended over two adjoining soundstages on the Burbank studios lot."
  17. Shay, Don (November 1985). Making Ghostbusters, p. 45 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Michael Gross says: "Louis' apartment is actually behind the door that Louis comes out of, and Dana's apartment is actually on the other side of the door she enters -- which is unusual in filmmaking. Often, it's cheaper to piece things together. But John DeCuir likes to base his sets in reality as much as possible. And it made things much easier for Ivan when it came to shoot. John's entire crew were really incredible. We went into Dana's apartment set the night before shooting and said, 'We want this changed, we want that changed.' The prop people worked all through the night; and the next morning, the entire set was redressed to our specifications."
  18. Shay, Don (November 1985). Making Ghostbusters, p. 42. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "Blueprints for Dana's and Louis' apartments and the hallway in between. Designed by John DeCuir, the sets were constructed as a single unit at The Burbank Studios. To facilitate effects work -- most especially the Terror Dogs' unwelcomed appearance midway through the film -- the entire structure was built six feet off the soundstage floor so that trained operators could climb underneath and actuate the puppetized party-crashers from below."
  19. Shay, Don (November 1985). Making Ghostbusters, p. 42. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "After careful planning of anticipated camera angles, some elements of the set design -- such as Dana's bathroom and the patio outside Louis' apartment -- were deemed unnecessary and thus deleted prior to construction."
  20. Shay, Don (November 1985). Making Ghostbusters, p. 42. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "The terrace outside Dana's apartment was a faithful reproduction of the actual building exterior in New York, enabling it to be used for the scenes in which the outer wall to her apartment is blown away by psychic forces."
  21. Shay, Don (November 1985). Making Ghostbusters, p. 42. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "DeCuir was careful to specify that no obstructions be placed beneath that portion of the set where hidden mechanisms would be needed to slide Dana's armchair across the floor on concealed tracks."
  22. Shay, Don (November 1985). Making Ghostbusters, p. 45 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Joe Medjuck says: "It wasn't that the set was so big. Technically, we could have fit it all on one stage. But we needed the extra space for Chuck Gaspar and his physical effects crew to do their construction, and we also needed it to enable us to get the camera back far enough for the shot at the end of the film where you see the guys looking out through the hole that's been blown into the wall of Dana's apartment."
  23. Shay, Don (November 1985). Making Ghostbusters, p. 43. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "Wall and door sections within Louis' apartment were designed and constructed for easy breakaway by the rampaging Terror Dog."
  24. Shay, Don (November 1985). Making Ghostbusters, p. 147. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "While the possessed Dana stands transfixed - staring out her window as the wave of ghosts sweeps past - the forces of Gozer blast out an entire wall in her penthouse apartment. To achieve the shot, John DeCuir designed and constructed the set as it was to appear after the explosion. Then Chuck Gaspar and his crew filled it in with balsawood bricks and breakaway glass. Inside, fifteen air mortars were mounted and filled with wet sand - which when fired under pressure acted like invisible shotgun pellets to blow out the wall and windows."
  25. Shay, Don (November 1985). Making Ghostbusters, p. 43. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "DeCuir's first staircase leading to the rooftop temple was rejected by Ivan Reitman who felt it looked like something out of a Frankenstein movie. On short order, it was replaced by a stairwell more appropriate to the architectural style of the building."
  26. Shay, Don (November 1985). Making Ghostbusters, p. 61 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Michael Gross says: "So when you're in Dana's apartment and you're looking out the window at the photo backdrops positioned outside, that's an exact point of view from that floor of that address, as it would be looking out of that particular window. He even went to the extent of going up on the roof and shooting still photographs all the way around the building -- both day and night -- so that we could have them enlarged into just the right backlit backdrops."
  27. Shay, Don (November 1985). Making Ghostbusters, p. 124 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "Because shooting time ran out in New York, Venkman's entrance into Dana's apartment house was not shot at the 55 Central Park West location -- but rather at a facsimile of its ground floor constructed at the Columbia Ranch in Burbank for the later sinkhole sequence. Rather than go to the expense of bringing the New York 'doorman' to Los Angeles, a different, but similar-looking actor was hired for the pickup scene."
  28. Shay, Don (November 1985). Making Ghostbusters, p. 163 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "A massive tremor rocks the area around Dana's apartment house, opening a fissure into which both the Ghostbusters and a parked police car tumble. To create the gaping sinkhole, a hydraulically-operated collapsing street was constructed at the Columbia Ranch, backed up by a facsimile of the ground floor exterior of the apartment building used on location - but without side streets or adjacent buildings."
  29. Shay, Don (November 1985). Making Ghostbusters, p. 163 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "Since no permanent damage could be done to the streets in New York, the area around the actual apartment house location was dressed with large jutting slabs of simulated asphalt. A police car, cut in half and upended, helped further suggest the presence of chasms in the roadway."
  30. Shay, Don (November 1985). Making Ghostbusters, p. 163 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "Street traffic was brought to a virtual standstill whenever cameras were rolling."
  31. Shay, Don (November 1985). Making Ghostbusters, p. 183 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "Hundreds of New York extras were pelted with cement debris - actually harmless bits of styrofoam released from a giant crane extending out over the crowd."
  32. Shay, Don (November 1985). Making Ghostbusters, p. 165 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph says: "The apartment building's 'thirty-five flights of stairs' were, in reality, only two flights of stairs - filmed at the Biltmore Hotel location used earlier for the fictitious Sedgewick Hotel. The remaining flights were added in postproduction by the Entertainment Effects Group matte department."
  33. Shay, Don (November 1985). Making Ghostbusters, p. 164 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "During matte photography, the camera began in tight on the building's unpainted foreground corner and then pulled back slowly to a full master."
  34. Shay, Don (November 1985). Making Ghostbusters, p. 164 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "On an identical, but separate, photographic pass, live-action footage of the Ghostbusters peering out through the blown-away wall in Dana's ravaged apartment was rear-projected into the open area in the painting."
  35. Page 110 of August 5, 1983 "Ghostbusters" draft
  36. Aykroyd, Dan & Ramis, Harold (1983). Ghostbusters (First Draft August 5, 1983) (Script p. 109). Egon says: "It was completed in 1923.""
  37. Third Draft, Revised 10/7/1983, p. 113 via Spook Central
  38. Shay, Don (November 1985). Making Ghostbusters, p. 105. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "The Ghostbusters trudge up thirty-five flights of stairs."
  39. Shay, Don (November 1985). Making Ghostbusters, p. 41 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Michael Gross says: "Our first choice for the apartment building was 1 Fifth Avenue. Washington Square is close by, and we felt it would have been very dramatic at the end for the Stay Puft marshmallow man to lumber past the Washington Square monument arch."
  40. Shay, Don (November 1985). Making Ghostbusters, p. 41 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Michael Gross says: "Plans to use the 1 Fifth Avenue building progressed to the point of designing preliminary rooftop sets for it, but were dropped when the co-op committee for the building voted against its use in the film."
  41. Joe Medjuck (2005). Ghostbusters- Commentary (2005) (DVD ts. 16:52-16:54). Columbia TriStar Home Video. Joe Medjuck says: "This was added optically, this gargoyle. "
  42. Ivan Reitman (2005). Ghostbusters- Commentary (2005) (DVD ts. 55:05-55:14). Columbia TriStar Home Video. Ivan Reitman says: "And this was the street we created in the back lot of Columbia... Columbia Studios. "
  43. Harold Ramis (2005). Ghostbusters- Commentary (2005) (DVD ts. 1:18:44-1:19:19). Columbia TriStar Home Video. Harold Ramis says: "So this is 65th and Central Park West so what happens there's the East-West crossing through the park on 65th and 66th. Columbus Circle is just off the street so when we were shooting this scene for three days, we stopped traffic here which shut down Columbus, 8th, Broadway, 7th, and 59th Street. Shot the East-West pass through the park, traffic started backing up to Times Square then Herald Square, Eastside, all the way to the river and they told us at one point we shut down 60% of Manhattan. "
  44. Harold Ramis (2005). Ghostbusters- Commentary (2005) (DVD ts. 1:19:24-1:19:50). Columbia TriStar Home Video. Harold Ramis says: "Ah right, so we're taking a break one day, Danny and I are standing on 65th and Central Park West, Danny sees Isaac Asimov, who lives in the neighborhood. Danny was so excited, he was one of the great science fiction writers of our age, 'Mr. Asimov, Dan Aykroyd, we're shooting the Ghostbusters movie'... he says 'Are you the ones responsible for this?'... and he walks away. He couldn't get home. "
  45. Ivan Reitman (2005). Ghostbusters- Commentary (2005) (DVD ts. 1:20:05-1:20:19). Columbia TriStar Home Video. Ivan Reitman says: "I remember there was a guy trying to get through, a really obnoxious guy in a car in the area and he started giving the policemen who were working on the film some real grief so they just pulled him out of the car and arrested him. "
  46. Shay, Don (November 1985). Making Ghostbusters, p. 165. New York Zoetrope, New York NY USA, ISBN 0918432685.
  47. Joe Medjuck (2005). Ghostbusters- Commentary (2005) (DVD ts. 1:22:02-1:22:07). Columbia TriStar Home Video. Joe Medjuck says: "This is one or two stairs then everything up is a matte painting. "
  48. Ivan Reitman (2005). Ghostbusters- Commentary (2005) (DVD ts. 1:22:08-1:22:16). Columbia TriStar Home Video. Ivan Reitman says: "I think this was shot at the Biltmore. "
  49. Digsby, Ann (1984). Ghostbusters: Storybook, p. 14. Scholastic Inc., New York NY USA, ISBN 0590336843.
  50. Ghostbusters: Storybook Chapter 2
  51. Ghostbusters: Storybook Page 14 close-up
  52. Aykroyd, Dan & Ramis, Harold (1988). Ghostbusters II (August 5, 1988 Draft) (Script p. 5). Ray Stantz says: "...so we get up to the very top of the building and, yep, sure enough, there was a huge staircase, just hanging in mid-air, leading up into the middle of nowhere with those two vicious terror dogs I told you about guarding the entrance."
  53. Aykroyd, Dan & Ramis, Harold (1988). Ghostbusters II (August 5, 1988 Draft) (Script p. 20). "Ray Stantz says: "Because the last time we got involved in a case we accidentally conjured up a hundred foot marshmallow man and blew up the top three floors off a very exclusive high-rise."

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