Editing Ghostbusters (section)

=== Writing ===
Aykroyd, Ramis, and Reitman began reworking the script, first at Reitman's office, then sequestering themselves and their families on [[Martha's Vineyard]], [[Massachusetts]]. Aykroyd had a home there, and they worked day and night in his basement for about two weeks.<ref name="THR2016" /> Aykroyd was willing to rework his script; he considered himself a "[[Scope creep|kitchen sink]]" writer who created the funny situations and paranormal jargon, while Ramis refined the jokes and dialogue. They wrote separately, then rewrote each other's drafts. Many scenes had to be cut, including an asylum haunted by celebrities, and an illegal ghost-storage facility in a [[New Jersey]] gas station.<ref name="VanityFair2014" /> Their initial draft was completed when they left the Vineyard in mid-July 1983, and a third and near-final draft was ready by early August.<ref name="VanityFair2014" /><ref name="THR2016" /><ref name="RollingJuly2016" /> When Murray flew to New York after filming ''[[The Razor's Edge (1984 film)|The Razor's Edge]]'' (1984) to meet Aykroyd and Ramis, he offered little input on the script or his character. Having written for Murray multiple times, Ramis said he knew "how to handle his character's voice".<ref name="VanityFair2014" />

It was decided early on that Ramis's character would be the brains of the Ghostbusters, Aykroyd's the heart, and Murray's the mouth.<ref name="Esquire" /> Aykroyd drew inspiration from fiction [[archetypes]]: "Put Peter Venkman, Raymond Stantz, and Egon Spengler together, and you have the [[Scarecrow (Oz)|Scarecrow]], [[Cowardly Lion|the Lion]], and the [[Tin Woodman|Tin Man]]".<ref name="VanityFair2014" /> His concept called for the Ghostbusters to have a boss and to be directed into situations, but Ramis preferred they be in control "of their own destiny" and make their own choices. This led to the development of more distinct identities for the characters: Peter as the cool, modern salesman; Ray as the honest, enthusiastic technician; and Egon as the factual, stoic intellectual.{{sfn|McCabe|2016|p=18}}

Reitman thought the most difficult parts of the writing were determining the story's goal, who the villain was and their goal, why ghosts were manifesting, and how a towering Marshmallow Man would appear. The creature was one of many elaborate supernatural entities in Aykroyd's initial treatment, originally intended to emerge from the [[East River]] only 20 minutes into the film. It stood out to Reitman but concerned him because of the relatively realistic tone they were taking. Meanwhile, Reitman searched for a special effects studio, eventually recruiting [[Richard Edlund]] in the same two-week span.<ref name="THR2016" /><ref name="DOGMay2016" />