Editing Ghostbusters II (section)

== Production ==
=== Development ===
[[File:Official portrait of Lord Puttnam crop 2.jpg|thumb|left|upright|alt=A profile image of David Puttnam. An older Caucasian male with shoulder-length white hair and a short white beard. The man is shown from his front-right profile, facing right and smiling away from the camera. |Then-[[Columbia Pictures]] executive [[David Puttnam]] (2018) was blamed for ''Ghostbusters{{nbsp}}II''{{'}}s lengthy production, though director [[Ivan Reitman]] said it was more the fault of the reluctant cast and crew.<ref name="RollingJul62016" />]]

After the success of ''[[Ghostbusters]]'', a sequel was considered inevitable even though the film had been developed as a stand-alone project.<ref name="Collider2013" /><ref name="NYTDec88" /> The development of ''Ghostbusters{{nbsp}}II'' was arduous, and the behind-the-scenes conflicts were given as much coverage in the press as the film.<ref name="LATimesDec1989" /> When [[David Puttnam]] became chairman of [[Columbia Pictures]] in June 1986, he was not interested in developing an expensive sequel, and favored smaller films such as the critically acclaimed war film ''[[Hope and Glory (film)|Hope and Glory]]'' (1987) and the comedy film ''[[Bloodhounds of Broadway (1989 film)|Bloodhounds of Broadway]]'' (1989) over big-budget [[Blockbuster (entertainment)|blockbusters]]. He also greenlit several foreign-language films by European directors because he preferred making films for the "world market".<ref name="NYTimesFeb89" /> ''Ghostbusters'' was part of former Columbia executive [[Frank Price]]'s legacy, and Puttnam had no interest in furthering that legacy while building his own.<ref name="AICNOverview" />

Reitman later said the delay in development was not Puttnam's fault; he said that executives above Puttnam at Columbia's New York branch had attempted to work around him, but could not get the production moving even after sidelining him. According to Reitman, the delay occurred because the main actors did not want to make a sequel for nearly three years; by the time they decided to go ahead, Murray was committed to his starring role in the Christmas comedy film ''[[Scrooged]]'' (1988). When Murray was finally ready, the script was not.<ref name="LATimesDec1989" /> As co-creators, Reitman, Murray, Aykroyd, and Ramis all had control over the franchise, and their unanimous approval was required to proceed.<ref name="RollingJul62016" /><ref name="VultureControl" />

In April 1987, Puttnam announced that ''Ghostbusters{{nbsp}}II'' would go into production in November that year without having informed Reitman, who had not yet reviewed the unfinished script.<ref name="LATimesMay87" /><ref name="LooperDunno" /> Puttnam was removed from his job in September. This was in part because he had alienated Murray and his talent agent Michael Ovitz. Puttnam had publicly criticized Murray as "an actor who makes millions of dollars from Hollywood without giving back to his art. He's a taker".<ref name="LATimesDec1989" /><ref name="RollingStone" /> He also attacked expensive talent agency packages that provided scripts, directors, and stars; Ovitz also represented Aykroyd, Ramis, and Reitman.<ref name="THRPuttnam" />

Puttnam was replaced as Columbia president by [[Dawn Steel]].<ref name="NYTimesJan1990" /><ref name="NYTimesFeb89" /> When she took the job, her corporate bosses made it clear that getting the sequel into production was a priority.<ref name="RollingStone" /> Columbia had experienced a long series of box-office failures since ''Ghostbusters'', and ''Ghostbusters{{nbsp}}II'' was seen as the best way to reverse their fortunes.<ref name="RollingStone" /> By November, filming was scheduled to begin in summer the following year. At the time, Murray reportedly wanted $10 million to star in the sequel and his co-stars demanded an equal amount.<ref name="ChicagoTribFilmingSched" /><ref name="ChicagoTribSalary" />

The main obstacle was the disputes between the principal cast and crew that had arisen since ''Ghostbusters''. Ramis later said "there was a little air to clear" before they could work together.<ref name="RollingStone" /> In March 1988,<ref name="AICNOverview" /> Ovitz arranged a private lunch for himself, Murray, Aykroyd, Ramis, Reitman, and Ovitz's colleague, CAA head of business affairs Ray Kurtzman, at Jimmy's, a celebrity restaurant in [[Beverly Hills, California]]. Concerns were raised such as whether the principals could still carry the sequel because Murray had been away from films for so long and Aykroyd had had a series of film failures. During the meeting, the group had fun and decided they could work together.<ref name="RollingStone" />

Months of negotiations followed with Reitman, Murray, Aykroyd, and Ramis to negotiate a minimal salary in exchange for a percentage of the box office profits.<ref name="RollingStone" /><ref name="AICNOverview" /> The deal was reported to be 10% of the box office profits each; Reitman denied that the figure was that large but said, "it's a big one".<ref name="LATimesDec1989" /><ref name="AICNOverview" /> This was to keep the budget low, aiming for approximately $30 million, whereas upfront salaries would have raised it closer to $50 million.<ref name="RollingStone" /> After this, the film was rushed into production, with shooting scheduled for mid-1988 in anticipation of a mid-1989 release.<ref name="AICNOverview" /><ref name="ChicagoTribSalary" /> Despite the five years it took to produce a sequel and its necessity for special effects, ''Ghostbusters{{nbsp}}II'' had a shorter schedule than its predecessor's one-year turnaround.<ref name="LATimesDec1989" />{{sfn|Eisenberg|1989|p=5}} [[Michael C. Gross]] and producer [[Joe Medjuck]] returned for the sequel, each promoted to producer. [[Michael Chapman (cinematographer)|Michael Chapman]] replaced [[László Kovács (cinematographer)|László Kovács]] as cinematographer, and [[Bo Welch]] replaced [[John DeCuir]] as production designer.{{sfn|McCabe|2016|p=60–61}}

=== Writing ===
[[File:Plucked from the Fairy Circle.png|thumb|alt=An 1880 sketch of a man pulling another man away from fairies that are dancing in a circle|Folklore about the existence of [[fairy ring]]s—naturally occurring rings or arcs of mushrooms—and their ties to the supernatural were present in Aykroyd's early draft.{{sfn|Eisenberg|1989|p=5}}{{sfn|McCabe|2016|p=57}}]]
Aykroyd described his first draft as "really too far out...{{nbsp}}too inaccessible".{{sfn|Eisenberg|1989|p=5}}{{sfn|McCabe|2016|p=57}} He wanted to avoid using New York City, set the film overseas, and provide a contrast to the first film's climax atop a skyscraper by including a subterranean threat.{{sfn|McCabe|2016|p=57}} This draft followed Dana Barrett, who is kidnapped and taken to Scotland, where she discovers a [[fairy ring]]—a naturally occurring ring or arc of mushrooms sometimes linked in folklore to fairies or witches<ref name="FairyRing" />—and an underground civilization.{{sfn|Eisenberg|1989|p=5}}{{sfn|McCabe|2016|p=57}} The Ghostbusters would have had to travel through an underground pneumatic tube over 2,000 miles long that would have taken three days to traverse.{{sfn|McCabe|2016|p=57}} He eventually decided that retaining the New York setting would allow for continuity and would better fit the story he wanted to tell while allowing them to explore underground.{{sfn|McCabe|2016|p=57}}

As with ''Ghostbusters'', Aykroyd partnered with Ramis to refine the script. Early on, they decided ''Ghostbusters{{nbsp}}II'' should reflect the five-year passage of time between the two films.{{sfn|McCabe|2016|p=57}} Ramis suggested the story focus on a baby because he had previously developed a horror film concept centered on an infant who possessed adult agility and focus. This inspired him to create the character Oscar.{{sfn|Eisenberg|1989|p=5}} Initially, the child was the son of Peter Venkman and Dana, who would have maintained their relationship in the intervening years. The child would have become possessed as a focal point of the film; Murray felt this created an imbalance in the story, placing too much emphasis on his and Dana's relationship with the child rather than the Ghostbusters and their character dynamics.{{sfn|McCabe|2016|pp=57,58}} Instead, they chose to have Peter's and Dana's relationship fail, allowing her to marry, have a child and be divorced by the events of ''Ghostbusters{{nbsp}}II''.{{sfn|Eisenberg|1989|p=6}} Ramis wanted to show that the Ghostbusters had not remained heroes after their victory in the previous film; he felt that would have been a less original approach.{{sfn|McCabe|2016|p=58}}

The river of slime was conceived early in their collaboration.{{sfn|Eisenberg|1989|p=5}} Ramis wanted the slime beneath New York to present a moral issue caused by the buildup of negative human emotions in large cities;{{sfn|Eisenberg|1989|p=5}}{{sfn|McCabe|2016|p=58}} he considered it a metaphor for [[urban decay]] and a call to deliver a human solution, though he said this was buried deeply in the script.<ref name="RollingStone" /> The pair wanted negative emotions to have consequences and found humor in New York City having to be nice or face destruction, though at this point they did not know what form that destruction would take.{{sfn|McCabe|2016|p=58}} Ramis said: "Comedically, it suggested, what if everyone in New York City had to be nice for forty-eight hours?"<ref name="RollingStone" /> Aykroyd said they wanted to show negativity has to go somewhere, potentially into the person the emotion is directed towards. He felt this made the film more grounded compared with dealings with gods.{{sfn|McCabe|2016|p=60–61}} He said: "Cities everywhere are dangerous. Life has become cheap. You can go to{{nbsp}}... see a movie and get machine-gunned on the street".{{sfn|Eisenberg|1989|p=5}} The story evolved far from Ramis' and Aykroyd's efforts but retained the core notion of emotions and their impact.{{sfn|Eisenberg|1989|p=6}} By May 1987, Aykroyd and Ramis had been working for over a year,<ref name="LATimesMay87" /> and had completed the screenplay by March 1988.<ref name="ChicagoTribSalary" />

In the years since the release of the more adult-oriented ''Ghostbusters'', its animated spin-off television series ''[[The Real Ghostbusters]]'' had become popular with its target child audience. The team was tasked with balancing the needs of ''Ghostbusters'' fans and those of the cartoon's audience.<ref name="AICNOverview" /> According to Medjuck, the cartoon's success was influential in the return of [[Slimer]] for the sequel, and they aimed to avoid contradicting the cartoon where possible; he said although the Ghostbusters have been out of work for five years, they had to act as though the cartoon's events took place after the film.<ref name="BTMSep14" />

=== Casting ===
[[File:Max von Sydow Cannes.jpg|thumb|left|alt=A profile image of Max von Sydow. An elderly Caucasian man with short white hair. He is facing forwards while looking off to the left, with a slight, open-mouthed smile. |[[Max von Sydow]] (1990) provided the voice of Vigo the Carpathian.]]
According to early reports, Puttnam intended to replace the principal cast with lower-salaried actors, in part because of his disdain for Murray. Puttnam denied this in a 1987 interview and said recasting had never been an option.<ref name="RollingStone" /><ref name="LATimesMay87" />

''Ghostbusters{{nbsp}}II'' was to be the first sequel Reitman had directed, and he was worried about being able to surprise the audience without relying on elaborate special effects. He wanted to focus on character interaction, believing that was the original film's main draw.<ref name="NYTDec88" /> Ramis was apprehensive about returning to the franchise because of the overwhelming success of ''Ghostbusters''.<ref name="NYTDec88" /> Murray was also hesitant; he had left acting for four years following the release of the previous film. He described ''Ghostbusters''{{'}} success as a phenomenon that would forever be his biggest accomplishment and felt "radioactive" after the failure of his personal project ''[[The Razor's Edge (1984 film)|The Razor's Edge]]'' (1984). He chose to avoid making films until he returned for ''Scrooged''.<ref name="CSTEbert" /><ref name="RollingStone" /> Murray was also dismissive of sequels in general, believing they exist only for "greed" or "business" reasons, the latter of which he said should carry a death sentence. He said he returned for the sequel because "working on the first ''Ghostbusters'' was the most fun any of us had".<ref name="NYTDec88" />

The character of Janosz Poha, portrayed by Peter MacNicol, was originally called Jason and serves as a [[straight man]] to the Ghostbusters.{{sfn|Bernard|1989|p=29}} MacNicol said the role could be played by anyone so he opted to give Poha a backstory in which he is [[Carpathian Mountains|Carpathian]]. He developed the accent from his Czech friend and from observations at a Romanian tourist agency.<ref name="PeopleJul89" />{{sfn|Bernard|1989|p=31}} MacNicol wanted to wear a black [[The Beatles|Beatles]] wig but the idea was rejected because many of the cast had dark hair.{{sfn|Bernard|1989|p=32}} The character's accent was inspired by that of [[Meryl Streep]] in the film ''[[Sophie's Choice (film)|Sophie's Choice]]'' (1982). In the script, Poha is not described as having an accent but MacNicol impressed Reitman with it at his audition.<ref name="FSRJun19" />

Max von Sydow provided the voice of Vigo; he completed his recordings in a single day.<ref name="FSRJun19" /> Von Homburg reportedly only learned his voice had been dubbed with von Sydow's while watching the premiere and stormed out shortly afterward.<ref name="Deadspinvonhomburg" /> He later said his slurred voice, which was caused by a split lip, had been a hindrance in securing acting work.{{sfn|Salmon|2016|p=77}} [[Eugene Levy]] was cast as Louis' cousin Sherman, an employee at the psychiatric ward where the Ghostbusters are imprisoned. The character was instrumental in their liberation but his scenes were cut.<ref name="DOGJul16" /><ref name="AICNOverview" />

=== Filming ===
[[File:U.S.-Custom-House.jpg|thumb|alt=A low-front image of the Alexander Hamilton U.S. Customs House. In front of the building is a short staircase with statues stood on either side. There are several windows covering the front of the building. |The [[Alexander Hamilton U.S. Custom House]] served as the exterior of the Manhattan Museum of Art.]]
Reitman began working on ''Ghostbusters{{nbsp}}II'' almost immediately after directing the 1988 comedy film ''[[Twins (1988 film)|Twins]]''.<ref name="NYTDec88" /> [[Principal photography]] began in November 1988, in New York City.<ref name="AICNOverview" /><ref name="NYTDec88" /> The budget was reported to be between $30 million and $40 million.<ref name="RollingStone" /><ref name="NYTimesBudget" />{{efn|The 1989 budget of $30–40{{nbsp}}million is equivalent to ${{Format price|{{Inflation|US|30000000|1989}}}}–${{Format price|{{Inflation|US|40000000|1989}}}} in {{Inflation/year|US}}.}} Filming in New York lasted approximately two weeks and consisted mostly of exterior shoots.<ref name="NYTDec88" />{{sfn|Eisenberg|1989|p=6}}

The city authorities were supportive of the project and even granted the crew permission to film on [[Manhattan]]'s [[Second Avenue (Manhattan)|Second Avenue]] during a period in which access for forty [[city block]]s was restricted because of the visit of [[Mikhail Gorbachev]], leader of the [[Soviet Union]].{{sfn|Eisenberg|1989|p=6}} Other locations include the Statue of Liberty<ref name="NYPLiberty" /> and [[Firehouse, Hook & Ladder Company 8]], the latter of which again served as the exterior of the Ghostbusters' headquarters. The updated Ghostbusters' business logo, which was gifted to the firehouse staff after filming, was hung on the outside of the building but eventually fell off.<ref name="NYTimesFirehouse" />

The [[Alexander Hamilton U.S. Custom House]] served as the exterior of the Manhattan Museum of Art, which housed the Vigo painting.<ref name="LocationMuseum" /> The scene of Aykroyd, Ramis, and Hudson's characters emerging from a manhole covered in slime was filmed in front of the building.{{sfn|Eisenberg|1989|pp=26,28}} When he wrote the scene, Ramis expected the production to use a manhole, but the only available underground location was a telephone conduit. Space in the hole was limited, and the actors had to squeeze into it while covered in slime. Freezing temperatures combined with the liquid slime made the actors uncomfortable. The following day, they learned the cameras had been recording at the wrong speed and they would have to film the scene again.{{sfn|Eisenberg|1989|p=28}} The scene of the Ghostbusters scanning the intersection where Oscar's possessed baby carriage is taken was filmed on [[First Avenue (Manhattan)|First Avenue]].<ref name="NYTDec88" />

Filming had moved to [[Los Angeles]] by late December 1988.<ref name="NYTDec88" /> [[Fire Station No. 23 (Los Angeles, California)|Fire Station No. 23]] again served as the interior of the Ghostbusters' headquarters.<ref name="BTMFirehouse23" /><ref name="Colliderpart3" /> [[Greystone Mansion]] in Beverly Hills was used for the scene in which the Ghostbusters visit the mayor at [[Gracie Mansion]].<ref name="GracieMansion" /> The scene in which the Ghostbusters dig a hole to find the river of slime was filmed in downtown Los Angeles.<ref name="RollingStone" /> The scene in which a fur coat comes to life and runs away was filmed on a Los Angeles street; it was written for the original film but was not used and repurposed for ''Ghostbusters{{nbsp}}II''.<ref name="FSRJun19" />{{sfn|Eisenberg|1989|p=26}} Filming concluded on March 7, 1989.<ref name="AICNOverview" /> Medjuck noted that characters are often seen smoking in ''Ghostbusters'' but a societal change in the intervening years meant this was no longer acceptable; ''Ghostbusters{{nbsp}}II'' depicts fewer scenes including smoking.<ref name="BTMSep14" />

=== Post-production ===
[[File:The Washington Square Arch, Greenwich Village, NY (6).jpg|thumb|alt=The Washington Square Arch as seen from across the central fountain. Plumes of water shoot upwards from the fountain. The arch is tall and pale, bearing several detailed engravings. |The [[Washington Square Arch]] was featured in reshoots as the site of a slime-powered ghost attack. Thousands of civilians attended the recording and were used in the film, shown running away from the arch.]]
Following [[test screening]]s, the principal crew realized there were numerous issues with the film.{{sfn|McCabe|2016B|pp=74,75}}<ref name="LATimesEndingCut" /> Reitman said that upon watching the test version he realized the final 25 minutes of the film "just died a horrible death", so he spent four days filming a new 25-minute ending to replace it.<ref name="LATimesEndingCut" /> The test screenings identified that audiences liked the film but felt Vigo did not present a real challenge to the Ghostbusters and that their victory was too easy.{{sfn|McCabe|2016B|pp=74,75}} Test audiences also thought Vigo, the slime, and the associated ghosts were not sufficiently connected.{{sfn|Eisenberg|1989|p=25}} According to Gross, the audiences were not aware that the slime in the film could be charged by negative or positive emotions, so scenes were added to better explain this.{{sfn|Eisenberg|1989|pp=23, 25}}

Extensive re-shoots were conducted throughout March and April 1989, only two months before the film's release; these included on-location filming in New York.{{sfn|Eisenberg|1989|p=23}}<ref name="AICNOverview" /><ref name="RollingStone" /> ''Ghostbusters{{nbsp}}II'' had been scheduled for release on the [[Independence Day (United States)|July 4th Independence Day holiday weekend]] but Reitman felt June 23 would work better. When they learned the superhero film ''[[Batman (1989 film)|Batman]]'' was also being released that day, they asked to move to the 16th. According to Gross, "Joe Medjuck and I were turning pale{{nbsp}}... it did not look possible{{nbsp}}... It was a real killer".{{sfn|Eisenberg|1989|p=25}}

Several new scenes were added to increase the sense of urgency and threat to the Ghostbusters, including the underground ghost train sequence and the associated severed-heads scare. A scene showing the Ghostbusters' developed photographs of Vigo bursting into flames, threatening to immolate them, was also added. Reitman wanted these scenes added because he thought his previous cut of the film focused too much on the relationship between Murray's and Weaver's characters.<ref name="FSRJun19" /> The ghost train scene was filmed at the [[Tunnel (New York nightclub)|Tunnel]] night club in New York. It was added to create a sense of an unseen force trying to keep the Ghostbusters away.{{sfn|Eisenberg|1989|p=23}}{{sfn|Eisenberg|1989|p=26}} Medjuck noted that the added scenes did not require extensive special effects.{{sfn|McCabe|2016B|pp=74,75}} Cheech Marin's cameo as a dock supervisor was also added in this period.<ref name="AICNOverview" />

The additional content replaced some scenes and subplots that were far into completion and contained finished special effects.<ref name="AICNOverview" /> Further shooting was done in [[Washington Square Park]], which was used for the monster moving under the [[Washington Square Arch]]. The popularity of the film was evident at that time when thousands of people arrived after hearing ''Ghostbusters{{nbsp}}II'' was being filmed there. They took part in filming, screaming on cue and running to escape the monster.{{sfn|Eisenberg|1989|p=30}} The film's final battle with Vigo was reshot, and the way that Vigo left the painting to confront the Ghostbusters changed completely.<ref name="MentalFlossVigo" /><ref name="AICNOverview" />

One of the cut scenes included a subplot in which the Ray Stantz character is possessed by Vigo following his inspection of the Vigo painting. Ray erratically drives the [[Ectomobile]] until he is freed of Vigo's control by Winston. This explained Ray's possession in the finale. Some of this footage was repurposed into a montage.<ref name="Collider2013" />{{sfn|McCabe|2016|p=62}} There were also scenes of Louis Tully attempting to capture Slimer, which test audiences found intrusive, and Slimer was reduced to two appearances.{{sfn|McCabe|2016|p=62}} Gross said they retained some Slimer scenes for children but that audiences generally had no reaction to the character, which was not what they had expected.{{sfn|Eisenberg|1989|p=22}} Because the sequence in which Tully's cousin frees the Ghostbusters from the psychiatric hospital was removed, a scene showing a paranormal eclipse from the Mayor's office was added to explain the Mayor securing their release. Other removed scenes showed Ray and Egon experimenting with the slime, which explained how they learned to manipulate it to control the Statue of Liberty. A ghost was also removed from the sequence in which the slime causes ghosts to rise across New York because Reitman felt it was not creepy enough.<ref name="AICNOverview" />

=== Music ===
{{Main|Ghostbusters II (soundtrack)|l1=Ghostbusters II ''soundtrack''}}
[[Ray Parker Jr.]] helped develop an updated version of his hit song "[[Ghostbusters (song)#Run-D.M.C. version|Ghostbusters]]", which was co-written and performed by [[hip hop]] group [[Run-DMC]].<ref name="Collider2013" /><ref name="RollingVinyl2" /> Aiming to replicate the success of the original soundtrack, producer Peter Afterman wanted to hire Bobby Brown who had a recent succession of hit songs.<ref name="RollingStoneBobbyB" /><ref name="RollingStoneBrown" /> To secure Brown's involvement, Afterman offered Brown's music label, [[MCA Records]], the rights to the [[Ghostbusters II (soundtrack)|''Ghostbusters II'' soundtrack]]. Brown agreed in exchange for a role in the film. Filming had nearly concluded at that time, but Reitman wrote Brown a cameo as the mayor's doorman.<ref name="RollingStoneBrown" /> The resulting song, "[[On Our Own (Bobby Brown song)|On Our Own]]", was written by [[L.A. Reid]], [[Babyface (musician)|Babyface]], and [[Daryl Simmons]]. The music video features appearances by [[Iman (model)|Iman]], [[Jane Curtin]], [[Doug E. Fresh]], [[Christopher Reeve]], [[Malcolm Forbes]], Rick Moranis, [[Donald Trump]], and [[Marky Ramone|Marky]] and [[Joey Ramone]].<ref name="RollingStoneBobbyB" /><ref name="LATimesBobbyBrown2" />

Brown also worked alone to write and produce "We're Back".<ref name="RollingStoneBrown" /> Other songs on the soundtrack include "Flip City" by [[Glenn Frey]], "Spirit" by Doug E. Fresh & The Get Fresh Crew, and "Love is a Cannibal" by [[Elton John]].<ref name="Stereogum" /> The song "Flesh 'n Blood" by composer [[Danny Elfman]] and [[Oingo Boingo]] was written for the film but Elfman said he was disappointed that only four [[Bar (music)|musical bars]] of it were used. He thought the small usage was an excuse to be able to release it on the soundtrack and said if he had known he would have pulled the song.<ref name="NYTimesElfman" /><ref name="LATimesElfman" />

[[Randy Edelman]] was responsible for the film's [[Ghostbusters II (soundtrack)#Ghostbusters II: Original Motion Picture Score|original score]].<ref name="Edelman" /><ref name="Edelman2" /> It was one of Edelman's first experiences working with a large scale orchestra. Although familiar with ''Ghostbusters'', he chose not to re-watch it for inspiration so the sequel would have a unique sound. Edelman believed the distinct personalities of the existing characters meant they rarely needed a musical accompaniment, and instead focused on scoring the supernatural and action setpieces to represent the menace and "dark nature of the evil Carpathian".<ref name="SoundtrackNetEdelman" />