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Dana Barrett fue la primer cliente y un personaje exclusivo para las primeras dos películas de Ghostbusters. Es una música profesional que vivía en New York. Tocaba el violonchelo en "una gran orquesta sinfónica", presumiblemente New York Philharmonic.

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  • El personaje de Dana Barrett apareció por primera vez en el primer guión borrador colaborativo de Dan Aykroyd y Harold Ramis porque se dieron cuenta de que la historia necesitaba un interés amoroso. Originalmente, era una fugitiva alienígena de otra dimensión que se transforma en una forma humana después de ver un comercial de soda dietectica.[1][2] Aykroyd y Ramis pronto se dieron cuenta de que este romance era divertido pero no muy romántico.
  • En el primer guión borrador en colaboración, en una escena, Peter debía despertar y encontrar a Dana en la forma de un jabalí.[3]
  • Aykroyd y Ramis finalmente decidieron convertir al interés amoroso en una cliente de los Cazafantasmas y, por lo tanto, dar una motivación más personal para Peter al mismo tiempo.[4]
  • Dana Barrett fue un personaje que originalmente se concibió como siendo una modelo, pero Sigourney Weaver sugirió que sería más interesante si ella fuera una música profesional. Según Harold Ramis, las sugerencias de Weaver realmente crecieron y fortalecieron al personaje.[5][6]

ReferenciasEditar

  1. Shay, Don (November 1985). Making Ghostbusters, p. 44 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "Dana Barrett's character changed dramatically as the script evolved. Aware that the story needed a love interest, Aykroyd and Ramis decided to write one into their initial collaborative draft. Being more attuned to comedy than romance, however, their first effort resulted in an alien fugitive from another dimension which transforms itself into human female form."
  2. Shay, Don (November 1985). Making Ghostbusters, p. 44 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "The character makes his first appearance in the June draft as a fellow refuge of the creature which was to become Venkman's interdimensional love interest. With a diet cola television commercial for inspiration, one creature transforms itself into a beautiful woman, while the other transforms into a heavy-set man."
  3. Shay, Don (November 1985). Making Ghostbusters, p. 44 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Harold Ramis says: "Venkman's affair with the interdimensional creature was funny, but not very romantic. He wakes up with her one morning and she is this kind of wart hog -- which we realized was rather lacking in real human connection and love."
  4. Shay, Don (November 1985). Making Ghostbusters, p. 44 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Harold Ramis says: "Also, it became apparent that the Ghostbusters needed a close personal involvement with one of the victims of the supernatural. So we thought, 'Wouldn't it be romantic if the love interest was one of their clients?' It gave Venkman an additional motivation for making the Ghostbusters a success -- not only is he out to make money, he is out to rescue this woman and prove himself to her."
  5. Shay, Don (November 1985). Making Ghostbusters, p. 44 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Harold Ramis says: "And, of course, once Sigourney Weaver expressed an interest in the role, we took the character much more seriously. We had made her a model, but Sigourney suggested it would be more interesting if she were a musician."
  6. Shay, Don (November 1985). Making Ghostbusters, p. 44 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Harold Ramis says: "She has such a dignity -- there is just no way to treat her as an object. And we liked the subtle class difference she brought to the part. She clearly had better breeding than Venkman did. Writing for women has not been one of my strengths in the past, but with Sigourney's contribution, this character really grew and strengthened."