Ghostbusters (Chapter 12): "He Slimed Me!"

"He Slimed Me!" is the twelfth chapter on the DVDs of Ghostbusters. This chapter is where Ray and later Peter meet Slimer.

Cast[]

Equipment[]

Locations[]

Sedgewick Hotel

Plot[]

Peter walked down a hall. The TV from someone's room could be heard. Ray walked around as he smoked. He came around a corner and saw Slimer pigging out at a room service cart out in the hall. Ray was shocked. His cigarette hung from his open mouth. Ray called out to Venkman but he got no response and turned back to Slimer. He remarked Slimer looked like a disgusting blob and realized he was going to have to hold it himself. He charged on the thrower, aimed, and fired at Slimer. He missed and struck the wall. Slimer roared in shock. He flew away and passed through a wall. The cart trailed after Slimer and collided with a table. The vase on the table shot straight up into the air.

Egon walked bent down and went slowly down a hall. A man walked to his room. Egon scanned his shoes and stood up. He poked the man in the arm but was disappointed he wasn't a ghost. Peter came around a corner and face-to-face with Slimer as it hovered on the other side of the hall. He grabbed his walkie-talkie off his belt without taking his eyes of Slimer and hailed Ray. Ray repeatedly exclaimed he saw it. Peter told Ray it was in his hall and it was looking at him. Ray remarked he was an ugly little spud. Peter warned Ray it could could hear him. Ray instructed Peter not to move and it won't hurt him. Slimer took off from his side of the hall and roared. Peter screamed and shielded his face. Ray ran to Peter and yelled to him. By the time Ray arrived, Slimer was long gone. Peter was lying on the floor drenched in Ectoplasm. Ray asked Peter what happened and if he was you okay. Peter spat out some Ectoplasm and stated it slimed him. Ray was amazed they made actual physical contact. He asked Peter if he could you move. Egon came over the walkie-talkie and hailed Ray. Peter remarked he felt so funky. Ray replied to Egon he was with Peter who got slimed. Egon asked Ray to save some for him then told them to get down stairs right away. He revealed Slimer just went into a ballroom. Ray confirmed they would.

There was a sign that read, "Sedgewick New York City Today Eastside Theatre Guild Midnight Buffet" Ray, Egon, and Peter were in the doorway of a ballroom. Ray grinned and asked the Hotel Manager if he and his staff could please wait outside and they would take care of everything. Egon and Ray closed the doors and locked them.

Quotes[]

Peter: It's right here, Ray. It's looking at me.

Ray: Venkman, what happened? Are you OK? Peter: He slimed me. Ray: That's great! Actual, physical contact.

Peter: I feel so funky!

Trivia[]

Ghostbusters[]

The corridors were done at sets constructed on Stage 12 at The Burbank Studios.^[1]
- This was due to several reasons like difficulty setting up in the Biltmore's narrow hallways, the Biltmore's floor had a busy pattern and the walls were white which would have been harder on the effects crew, and concerns with damaging the hotel. John DeCuir purchased a 'Rich and Famous' set from MGM and reconfigured it for the film crew.^[2]
Dan Aykroyd described Slimer as a vapor - a kind of confluence of stored up psychic energy, an accumulation of spirits that haunt the hotel who doesn't want to leave.^[3]
Thelma Moss, of the Parapsychology department at UCLA, told Harold Ramis Slimer was similar to a classic type of haunting known as 'hungry ghosts' - a ghost who just ears and drinks. Ramis admitted they didn't know about that when they wrote the script.^[4]
During pre-production, Ivan Reitman remarked Slimer was sort of like Bluto in the film "Animal House" like the ghost of John Belushi. Dan Aykroyd never argued with that point.^[5]
Ivan Reitman provided the voice of Slimer.^[6]^[7]
In the August 5, September 30, and October 7, 1983 drafts, the Ghostbusters almost blast a Puerto Rican bellboy. In the movie, it was changed to a chambermaid.
In the August 5, 1983 draft:
- On page 46-47, Egon interviews a woman in a bath towel. After he asks her if she noticed anything yellow and unusually smelly in her bathroom she slams the door on him. A fat 10 year old boy eating bread sticks follows Ray and Peter and annoys them. He notes they look like spacemen.
  - The sequence of Egon was to running into a woman in a towel was going to be filmed. Mary Woronov was cast but the scene was never shot.^[8]^[9]
- On page 49, Ray and Peter find the yellow vapor eating at a cart. Ray has second thoughts, thinking he was once a human like someone's grandfather. Peter points out everyone hated his grandfather.^[10]
- On page 50, a man in a hotel room pulls the plastic bag off his recently dry-cleaned white dinner jacket but the yellow vapor flies over him and ruins the jacket. The vapor slimes Winston next.
In the September 30, 1983 draft, on pages 44-59, the investigation is like previous drafts but now Winston is hired after the bust and there are new sequences where Ray now is the one who finds the vapor first, Peter grumbles to himself he works for a company called the Ghostbusters, there is a longer walkie-talkie conversation between Peter and Ray than is seen in the movie, and now Peter is the one who is slimed.
The first appearance of Slimer when Ray finds him eating off a cart in a hallway was done blindly by Mark Bryan Wilson. Mark Siegel was jammed up behind the puppet to reach into the back of Slimer's head in order to operate the tongue puppet. Because of the way Siegel was working, Wilson could not see from the skull cap inside puppet and had to bend down and reach blindly for the plates on the cart. Steve Johnson was crammed in behind Siegel and operated the cheek. There were plates full of food such as mashed potatoes, lettuce, and jello on the mock up cart used for filming. As Wilson tossed the plates of food into the puppet's mouth, the food ran down the back of his neck.^[11]
When the first appearance of Slimer scene was done filming, the Boss Film crew immediately started laughing. All of sudden, they heard Mark Bryan Wilson demanding he be taken out of the puppet since he was drenched in food.^[12]
For the scene of Slimer fleeing from Ray into the wall, a three inch long partial sculpture by Mark Siegel dubbed "Bullet Slimer" was used and shot as a separate element to be inserted later.^[13]
The cart that trails Slimer was motorized and piloted from underneath by one of Chuck Gaspar's crew. Naturally, when the cart crashed, the driver was not present.^[14]
At around the 36:50 mark of the Preview Cut, included first in the 2022 Ghostbusters Ultimate Edition, after Ray tells Peter the ghost won't hurt him, Peter asks him how he knows. Ray admits he is just guessing. Peter asks him to say that again. He does. They ask each other where they were. Slimer charging and Peter screaming follows.
The slime was derived from methylcellulose ether - a powdered thickening agent used in pharmaceuticals and food products. Joe Day applied it to Bill Murray during filming.^[15]
When Peter says "He slimed me," Bill Murray is wearing a stunt pack, evidenced by the straps.
At around the 37:50 mark of the Preview Cut, after Egon radios Ray, Peter jokes he is dying to dance with Slimer. The Ghostbusters talking to the manager before they close the ballroom doors follows.
During Los Angeles filming of the scene when Peter is slimed, Ivan Reitman, Dan Aykroyd, and Bill Murray met with Glenn Hughes and Pat Thrall for a sushi lunch to listen to their Ghostbusters theme song submission. Murray didn't like their attempt and wanted NRBQ instead.^[16]^[17]
The shot of the Ghostbusters in the doorway of the ballroom is a hat tip to the Marx Brothers.^[18]^[19]
The crew gave a lot of thought in justifying a midnight buffet and came up with the fictitious theatre association and the sign outside the banquet room.^[20]
After Slimer is confined in the Chapter 13: "Nice Shootin', Tex.", Peter alludes to when he got slimed.

Ghostbusters: The Video Game[]

On the second floor of the Firehouse, in Ghostbusters: The Video Game (Realistic Versions), on the employee of the month board:
- For April, the still of Peter is from Chapter 12, around the 33:42 mark, when Peter and Ray talk over their radios about Slimer.
In Welcome to the Hotel Sedgewick Level, there are several nods to the bust in the movie:
- Peter declines to search for Slimer upstairs in the halls and remarks he's been there before. He stills ends up getting slimed and is found on his back.
- Rookie firing at Slimer and missing is similar to Ray's first encounter.
- Egon calls Ray back down to the lobby.
- John O'Keefe refuses to let them into the Alhambra Ballroom, cognizant of what happened before, and there is a party about to start in the ballroom.

The Real Ghostbusters[]

In The Real Ghostbusters epsiode "Slimer, Come Home", in the aftermath of the party, Peter Venkman refers to the Ghostbusters' first encounter with Slimer, seen in the movie.^[21]
In The Real Ghostbusters episode "Citizen Ghost", Peter instantly recognizes the green ghost as the one who slimed him at the Sedgewick Hotel.^[22]
In The Real Ghostbusters episode "Adventures in Slime and Space", Peter alludes to the Ghostbusters' first encounter with Slimer and getting slimed.^[23]
In The Real Ghostbusters episode "The Halloween Door", Peter says he's been waiting five years to slime Slimer. This is true, since he was first slimed by Slimer in the movie.^[24]

88 MPH Comics[]

On page 17 of Ghostbusters: Legion Issue #4, Peter refers to Slimer as "The Spud".

IDW Comics[]

On page 19 of Ghostbusters Volume 1 Issue #1, Peter mentions he has a score to settle with Slimer.
On page 6 of Ghostbusters Volume 2 Issue #1, the scene draws several parallels with Ray and Peter's first meeting with Slimer - the ghost drinking from a bottle, a Proton Stream missing it, and someone gets slimed.
On page 5 of Teenage Mutant Ninja Turtles/Ghostbusters Issue #2, Egon pokes April O'Neil on the shoulder as he did with the Hallway Bystander in the first movie at the Sedgewick Hotel.
On page 18 of Ghostbusters: Get Real Issue #1, Egon pokes Winston 68-R's left shoulder like he did to the Hallway Bystander at the Sedgewick Hotel in the first movie.
The back of the RI Wraparound Cover of Ghostbusters 101 #3 features Ray when he was suited up during the first bust in chapter 12 to 13.
On page 15 of 35th Anniversary: Ghostbusters, Egon pokes a light pole like when he scanned and poked the man in the Sedgewick Hotel hall in the first movie.
On page 9 of Ghostbusters 35th Anniversary: The Real Ghostbusters, Saul's "Disgusting blob" line is a nod to Ray's line in when he first encountered Slimer.
On page 5 of Transformers/Ghostbusters: Ghosts of Cybertron Issue #3, Peter refers to Slimer as a "spud," a nickname originating from when Ray hails Peter on the walkie-talkie.
On Cover A of Ghostbusters Year One Issue #2, there a scene from the first movie of Ray seeing Slimer for the first time in Chapter 12: "He Slimed Me!" but this depiction lacks his cigarette.
On Cover A of Ghostbusters Year One Issue #3, there is the scene of Peter radioing Ray after he sees Slimer for the first time in Chapter 12: "He Slimed Me!"

Tertiary Canon Miscellaneous Trivia[]

In Ghostbusters: The Official Cookbook, on page 115, Egon mentions Peter washed Slimer's ectoplasmic residue off before he could secure a sample from their first bust.^[25]
On page 5 of Egon's Journal, a supplement of the Hasbro Haslab Ghostbusters Plasma Series Spengler's Proton Pack, there is a reference to Chapter 12: "He Slimed Me!":
- When Peter was slimed.

Ghostbusters: Rise of the Ghost Lord Trivia[]

Upon finding Slimer, Ray remarks he is a disgusting blob like in the first movie. Ray also refers to him as an ugly one.
The scene of Slimer drinking and eating and Slimer charging Peter in the hallway is reenacted in the Slimer Hunt DLC for Ghostbusters: Rise of the Ghost Lord on January 31, 2024. When the player is slimed, Ray says the same thing he said when Peter radioed he got slimed, "That's great! Actual physical contact! Can you move?"

References[]

↑ Shay, Don (November 1985). Making Ghostbusters, p. 71 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "The interior of the elevator and all the corridors of the hotel were actually sets constructed on Stage 12 at The Burbank Studios.""
↑ Shay, Don (November 1985). Making Ghostbusters, p. 79 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Michael Gross says: "All of the hallway scenes were shot on stage. We could have filmed them at the Biltmore, but there were several disadvantages to doing that. For one, it would have taken longer to shoot, since we would have had to go in there and get set up in some very narrow hallways. And for the effects people, the real hotel corridors would have created terrible problems. The Biltmore's floors had a very busy pattern on them; and the walls were all white, which would have made it almost impossible to generate a transparent ghost image. And, finally, we were concerned about damaging the hotel, which was real possibility. As it was, we could dump things on the carpet and burn up the walls without really worrying about it. Interestingly, the set had originally been built for Rich and Famous and was patterned after the Algonquin Hotel in New York. John DeCuir bought it from M-G-M and cleverly reconfigured it to our needs."
↑ Shay, Don (November 1985). Making Ghostbusters, p. 64 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Dan Aykroyd says: "So, in reading the literature and reading about full head and torso apparitions, I found out that it is very rare that you see a full figure -- it is usually just a hint of the former being. The Onionhead is a vapor -- a kind of confluence of stored up psychic energy. He's an accumulation of spirits that haunt this hotel, and he just doesn't want to leave."
↑ Shay, Don (November 1985). Making Ghostbusters, p. 78 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Harold Ramis says: "Thelma Moss, of the parapsychology department at UCLA, told me after seeing the movie that one of the classic types of hauntings is known as the hungry ghost -- a ghost who just eats and drinks. We didn't know that when we wrote the Onionhead into our script, but it's a nice coincidence."
↑ Shay, Don (November 1985). Making Ghostbusters, p. 78 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Joe Medjuck says: "One day, during preproduction, we were all sitting around talking about the Onionhead concept, and Ivan remarked that the character was sort of like Bluto in Animal House -- like the ghost of John Belushi, in a way, Danny, who was obviously a good friend of John's, never argued with that. Even so, we never officially said that and we never mentioned it in the script. It was just one way to look at the character, because Onionhead's grossness is like Bluto's in Animal House. We certainly never expected anyone to recognize him as such, although somehow the word did get out and we received some calls from a few newspapers saying they'd heard we had the ghost of John Belushi in our movie."
↑ Ivan Reitman (2005). Ghostbusters- Commentary (2005) (DVD ts. 56:49-57:02). Columbia TriStar Home Video. Ivan Reitman says: "I actually do the voice, the deep voice of...that's me. I did Slimer and the voice that comes out of her here. "
↑ Shay, Don (November 1985). Making Ghostbusters, p. 127 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "In an unusual twist on the directorial cameo, Dana's demonic voice -- reminiscent of Mercedes McCambridge's intonations in The Exorcist -- was actually that of Ivan Reitman. Reitman, in fact, provided all of the unearthly voices in the film, except that of Gozer."
↑ Shay, Don (November 1985). Making Ghostbusters, p. 72 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "Deleted from the final draft was a scene in which Stantz and Venkman are followed about by an obnoxious ten-year-old boy who -- to their growing annoyance -- thinks they're nothing more than janitors. Meanwhile, Spengler has his encounter with the woman in a towel. Though Spengler's scene remained intact through all four of the collaborative drafts, it still failed to make it into the film.""
↑ Shay, Don (November 1985). Making Ghostbusters, p. 72 annotation. New York Zoetrope, New York NY USA, ISBN 0590336843. Ivan Reitman recounts: "We never even shot it. We had Mary Woronov, from Eating Raoul, cast as the woman. She's a very good actress -- very striking -- but it just came down to time."
↑ Aykroyd, Dan & Ramis, Harold (1983). Ghostbusters (First Draft August 5, 1983) (Script p. 49). Hotel Manager says: "Everybody hated my grandfather.""
↑ TCU Collectibles facebook "Mark Siegel (Creature Shop, Ghostbusters/Ghostbusters 2) Interview" 50:16-51:54 9/14/2020 Mark Siegel says: "So Mark is wearing the suit. Now because the tongue puppet has to work in this. I have to have my arm through the back of the head into the tongue puppet. This means that Mark can't have his head in the skull cap as he usually does so he has be be bending down. So he's working blind, he has to reach on to the--we had a mock up of a hotel cart, not a real hotel food service cart--but we had a cart there on the set with breakaway plates that were piled with mashed potatoes and lettuce and jello, and all kinds of crap and Mark had to pick it up blind and lift it up and pour it into the Slimer mouth. Which meant they were going on to the tongue while I was doing the tongue movement and falling over the tongue on the back of Mark's neck and he'd have to do all the movement like this. So now when you see the tongue movement, oh I'll describe it. I was jammed in right behind the puppet like really tight with my arm through a slot behind the head into the mouth. Steve Johnson was crammed in right behind me with his arms around me into the cheeks of the puppet. So partly what he was doing was supporting the top of the head, but he could also do cheek movements by moving his fists inside the cheeks. So the combination of that just really low tech animation gave the character all that movement."
↑ TCU Collectibles facebook "Mark Siegel (Creature Shop, Ghostbusters/Ghostbusters 2) Interview" 52:43-52:53 9/14/2020 Mark Siegel says: "We were cracking up laughing after the take and then all of a sudden there's this voice from inside the puppet going "Get me out of here!" It's Mark all drenched in food and stuff."
↑ TCU Collectibles facebook "Mark Siegel (Creature Shop, Ghostbusters/Ghostbusters 2) Interview" 53:56-54:39 9/14/2020 Mark Siegel says: "But my next video of work was at the end of the shoot. See that little green Slimer going down the hallway there? There is is. That is a little tiny sculpture that we called "Bullet Slimer" and that's my sculpture of it. And you can see by the size of the quarter how tiny this sculpt, he's about three inches long so for that shot, the animation department thought we don't have to use the whole puppet. We wanna look like he's speeding through so let's have a bullet shaped Slimer and they could just set it up on the animation stand and shoot it as a separate element to go through the wall."
↑ Shay, Don (November 1985). Making Ghostbusters, p. 78 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "The room service cart which trails along behind the Onionhead as it flies through the hotel corridors was actually a motorized vehicle, piloted from underneath by one of Chuck Gaspar's crew members. For the scene where it crashes and overturns, the driver was removed and the cart merely pushed into the wall. The ghost itself -- which passes through the solid surface leaving a slimy, dripping residue behind -- was shot on stage at Entertainment Effects Group and incorporated optically in the live-action photography."
↑ Shay, Don (November 1985). Making Ghostbusters, p. 81 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "Joe Day applies 'ectoslime' to Bill Murray. In reality, the gooey substance was derived from methylcellulose ether -- a powdered thickening agent used in pharmaceuticals and food products."
↑ Greene, James, Jr., (2022). A Convenient Parallel Dimension: How Ghostbusters Slimed Us Forever, p. 50. Lyons Press, Essex, CT USA, ISBN 9781493048243. Pat Thrall says: "It was the day they were shooting the slime scene in the hotel."
↑ Greene, James, Jr., (2022). A Convenient Parallel Dimension: How Ghostbusters Slimed Us Forever, p. 50. Lyons Press, Essex, CT USA, ISBN 9781493048243. Pat Thrall says: "Anyway, Bill Murray didn't like our song. You just think of Bill Murray as a jokester all the time. He was totally the opposite of that at this lunch. He was all business. His whole thing about the theme was he wanted it to be credible, not gimmicky. I think his favorite band was NRBQ. I think he wanted them to do the theme. So we were like, 'Man, we submitted ours, whatever.' Also, the only thing Bill Murray ate through this whole lunch was uni and sake. He was downing sake like crazy, and he had more filming to do. And he was just emphatic about the NRBQ thing."
↑ Harold Ramis (1999). Ghostbusters- Commentary (1999) (DVD ts. 34:38-34:39). Columbia TriStar Home Video. Harold Ramis says: "And this is pure Marx Brothers."
↑ Ivan Reitman (1999). Ghostbusters- Commentary (1999) (DVD ts. 34:41-34:44). Columbia TriStar Home Video. Ivan Reitman says: "Yeah. Right down to the placement of the heads as they come through the door."
↑ Shay, Don (November 1985). Making Ghostbusters, p. 81 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Michael Gross says: "But how could we justify a completely laid out banquet room this late at night? We finally solved the problem with a single billboard, outside the room, announcing a midnight buffet for a nonexistent theatre association -- the implication being that the group was having a banquet after attending the theatre. I doubt if anyone in the audience ever gave it a thought, but we certainly did."
↑ Peter Venkman (2009). The Real Ghostbusters - "Slimer, Come Home" (1986) (DVD ts. 06:36-06:37). Time Life Entertainment. Peter says: "First time I saw you, you slimed me!"
↑ Peter Venkman (2009). The Real Ghostbusters- Citizen Ghost (1986) (DVD ts. 7:44-7:47). Time Life Entertainment. Peter says: "It's him! It's the one who slimed me at the hotel!"
↑ Peter Venkman (2009). The Real Ghostbusters - "Adventures in Slime and Space" (1987) (DVD ts. 04:07-04:12). Time Life Entertainment. Peter says: "Listen, he slimed me the first time we met. He's been looking for a second chance ever since!"
↑ Peter Venkman (2009). The Real Ghostbusters - "The Halloween Door" (1989) (DVD ts. 01:44-01:46). Time Life Entertainment. Peter says: "Five years I waited to do that!"
↑ Fukikawa, Jenn, & Burnham, Erik (2022). Ghostbusters: The Official Cookbook, p. 115. Insight Editions, San Rafael, CA USA, ISBN 9781647227401. Egon Spengler says: "The advice worked quite well, but Venkman still took the sliming personally... and since he washed it off without saving me a sample, I'll never know if it had half of the aftereffects that he claims it did."

Gallery[]

Selected Screengrabs[]

Secondary Canon Images[]

Tertiary Canon Images[]

Behind the Scenes Images[]


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Chapter 11: "We Got One!"	Chapter 13: "Nice Shootin', Tex."

[1] Shay, Don (November 1985). Making Ghostbusters, p. 71 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "The interior of the elevator and all the corridors of the hotel were actually sets constructed on Stage 12 at The Burbank Studios.""

[2] Shay, Don (November 1985). Making Ghostbusters, p. 79 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Michael Gross says: "All of the hallway scenes were shot on stage. We could have filmed them at the Biltmore, but there were several disadvantages to doing that. For one, it would have taken longer to shoot, since we would have had to go in there and get set up in some very narrow hallways. And for the effects people, the real hotel corridors would have created terrible problems. The Biltmore's floors had a very busy pattern on them; and the walls were all white, which would have made it almost impossible to generate a transparent ghost image. And, finally, we were concerned about damaging the hotel, which was real possibility. As it was, we could dump things on the carpet and burn up the walls without really worrying about it. Interestingly, the set had originally been built for Rich and Famous and was patterned after the Algonquin Hotel in New York. John DeCuir bought it from M-G-M and cleverly reconfigured it to our needs."

[3] Shay, Don (November 1985). Making Ghostbusters, p. 64 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Dan Aykroyd says: "So, in reading the literature and reading about full head and torso apparitions, I found out that it is very rare that you see a full figure -- it is usually just a hint of the former being. The Onionhead is a vapor -- a kind of confluence of stored up psychic energy. He's an accumulation of spirits that haunt this hotel, and he just doesn't want to leave."

[4] Shay, Don (November 1985). Making Ghostbusters, p. 78 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Harold Ramis says: "Thelma Moss, of the parapsychology department at UCLA, told me after seeing the movie that one of the classic types of hauntings is known as the hungry ghost -- a ghost who just eats and drinks. We didn't know that when we wrote the Onionhead into our script, but it's a nice coincidence."

[5] Shay, Don (November 1985). Making Ghostbusters, p. 78 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Joe Medjuck says: "One day, during preproduction, we were all sitting around talking about the Onionhead concept, and Ivan remarked that the character was sort of like Bluto in Animal House -- like the ghost of John Belushi, in a way, Danny, who was obviously a good friend of John's, never argued with that. Even so, we never officially said that and we never mentioned it in the script. It was just one way to look at the character, because Onionhead's grossness is like Bluto's in Animal House. We certainly never expected anyone to recognize him as such, although somehow the word did get out and we received some calls from a few newspapers saying they'd heard we had the ghost of John Belushi in our movie."

[6] Ivan Reitman (2005). Ghostbusters- Commentary (2005) (DVD ts. 56:49-57:02). Columbia TriStar Home Video. Ivan Reitman says: "I actually do the voice, the deep voice of...that's me. I did Slimer and the voice that comes out of her here. "

[7] Shay, Don (November 1985). Making Ghostbusters, p. 127 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "In an unusual twist on the directorial cameo, Dana's demonic voice -- reminiscent of Mercedes McCambridge's intonations in The Exorcist -- was actually that of Ivan Reitman. Reitman, in fact, provided all of the unearthly voices in the film, except that of Gozer."

[8] Shay, Don (November 1985). Making Ghostbusters, p. 72 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "Deleted from the final draft was a scene in which Stantz and Venkman are followed about by an obnoxious ten-year-old boy who -- to their growing annoyance -- thinks they're nothing more than janitors. Meanwhile, Spengler has his encounter with the woman in a towel. Though Spengler's scene remained intact through all four of the collaborative drafts, it still failed to make it into the film.""

[9] Shay, Don (November 1985). Making Ghostbusters, p. 72 annotation. New York Zoetrope, New York NY USA, ISBN 0590336843. Ivan Reitman recounts: "We never even shot it. We had Mary Woronov, from Eating Raoul, cast as the woman. She's a very good actress -- very striking -- but it just came down to time."

[10] Aykroyd, Dan & Ramis, Harold (1983). Ghostbusters (First Draft August 5, 1983) (Script p. 49). Hotel Manager says: "Everybody hated my grandfather.""

[11] TCU Collectibles facebook "Mark Siegel (Creature Shop, Ghostbusters/Ghostbusters 2) Interview" 50:16-51:54 9/14/2020 Mark Siegel says: "So Mark is wearing the suit. Now because the tongue puppet has to work in this. I have to have my arm through the back of the head into the tongue puppet. This means that Mark can't have his head in the skull cap as he usually does so he has be be bending down. So he's working blind, he has to reach on to the--we had a mock up of a hotel cart, not a real hotel food service cart--but we had a cart there on the set with breakaway plates that were piled with mashed potatoes and lettuce and jello, and all kinds of crap and Mark had to pick it up blind and lift it up and pour it into the Slimer mouth. Which meant they were going on to the tongue while I was doing the tongue movement and falling over the tongue on the back of Mark's neck and he'd have to do all the movement like this. So now when you see the tongue movement, oh I'll describe it. I was jammed in right behind the puppet like really tight with my arm through a slot behind the head into the mouth. Steve Johnson was crammed in right behind me with his arms around me into the cheeks of the puppet. So partly what he was doing was supporting the top of the head, but he could also do cheek movements by moving his fists inside the cheeks. So the combination of that just really low tech animation gave the character all that movement."

[12] TCU Collectibles facebook "Mark Siegel (Creature Shop, Ghostbusters/Ghostbusters 2) Interview" 52:43-52:53 9/14/2020 Mark Siegel says: "We were cracking up laughing after the take and then all of a sudden there's this voice from inside the puppet going "Get me out of here!" It's Mark all drenched in food and stuff."

[13] TCU Collectibles facebook "Mark Siegel (Creature Shop, Ghostbusters/Ghostbusters 2) Interview" 53:56-54:39 9/14/2020 Mark Siegel says: "But my next video of work was at the end of the shoot. See that little green Slimer going down the hallway there? There is is. That is a little tiny sculpture that we called "Bullet Slimer" and that's my sculpture of it. And you can see by the size of the quarter how tiny this sculpt, he's about three inches long so for that shot, the animation department thought we don't have to use the whole puppet. We wanna look like he's speeding through so let's have a bullet shaped Slimer and they could just set it up on the animation stand and shoot it as a separate element to go through the wall."

[14] Shay, Don (November 1985). Making Ghostbusters, p. 78 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "The room service cart which trails along behind the Onionhead as it flies through the hotel corridors was actually a motorized vehicle, piloted from underneath by one of Chuck Gaspar's crew members. For the scene where it crashes and overturns, the driver was removed and the cart merely pushed into the wall. The ghost itself -- which passes through the solid surface leaving a slimy, dripping residue behind -- was shot on stage at Entertainment Effects Group and incorporated optically in the live-action photography."

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

[16] Greene, James, Jr., (2022). A Convenient Parallel Dimension: How Ghostbusters Slimed Us Forever, p. 50. Lyons Press, Essex, CT USA, ISBN 9781493048243. Pat Thrall says: "It was the day they were shooting the slime scene in the hotel."

[17] Greene, James, Jr., (2022). A Convenient Parallel Dimension: How Ghostbusters Slimed Us Forever, p. 50. Lyons Press, Essex, CT USA, ISBN 9781493048243. Pat Thrall says: "Anyway, Bill Murray didn't like our song. You just think of Bill Murray as a jokester all the time. He was totally the opposite of that at this lunch. He was all business. His whole thing about the theme was he wanted it to be credible, not gimmicky. I think his favorite band was NRBQ. I think he wanted them to do the theme. So we were like, 'Man, we submitted ours, whatever.' Also, the only thing Bill Murray ate through this whole lunch was uni and sake. He was downing sake like crazy, and he had more filming to do. And he was just emphatic about the NRBQ thing."

[18] Harold Ramis (1999). Ghostbusters- Commentary (1999) (DVD ts. 34:38-34:39). Columbia TriStar Home Video. Harold Ramis says: "And this is pure Marx Brothers."

[19] Ivan Reitman (1999). Ghostbusters- Commentary (1999) (DVD ts. 34:41-34:44). Columbia TriStar Home Video. Ivan Reitman says: "Yeah. Right down to the placement of the heads as they come through the door."

[20] Shay, Don (November 1985). Making Ghostbusters, p. 81 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Michael Gross says: "But how could we justify a completely laid out banquet room this late at night? We finally solved the problem with a single billboard, outside the room, announcing a midnight buffet for a nonexistent theatre association -- the implication being that the group was having a banquet after attending the theatre. I doubt if anyone in the audience ever gave it a thought, but we certainly did."

[21] Peter Venkman (2009). The Real Ghostbusters - "Slimer, Come Home" (1986) (DVD ts. 06:36-06:37). Time Life Entertainment. Peter says: "First time I saw you, you slimed me!"

[22] Peter Venkman (2009). The Real Ghostbusters- Citizen Ghost (1986) (DVD ts. 7:44-7:47). Time Life Entertainment. Peter says: "It's him! It's the one who slimed me at the hotel!"

[23] Peter Venkman (2009). The Real Ghostbusters - "Adventures in Slime and Space" (1987) (DVD ts. 04:07-04:12). Time Life Entertainment. Peter says: "Listen, he slimed me the first time we met. He's been looking for a second chance ever since!"

[24] Peter Venkman (2009). The Real Ghostbusters - "The Halloween Door" (1989) (DVD ts. 01:44-01:46). Time Life Entertainment. Peter says: "Five years I waited to do that!"

[25] Fukikawa, Jenn, & Burnham, Erik (2022). Ghostbusters: The Official Cookbook, p. 115. Insight Editions, San Rafael, CA USA, ISBN 9781647227401. Egon Spengler says: "The advice worked quite well, but Venkman still took the sliming personally... and since he washed it off without saving me a sample, I'll never know if it had half of the aftereffects that he claims it did."

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