550 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 Ivo Shandor and the Cult of Gozer to bring forth their "divine" master Gozer itself in its Destructor Form.
- 1 History
- 2 Secondary Canon History
- 3 Development
- 4 Real Life
- 5 Trivia
- 6 Appearances
- 7 References
- 8 Gallery
Design and Construction
According to research at the Hall of Records, Ray was able to discern that the structural details of the apartment building, such as the use of a magnesium-tungsten alloy and cold riveted girders with cores of pure selenium, were very unusual. In Tobin's Spirit Guide, Egon also discovered that the architect of the building, Ivo Shandor, also led a cult of almost 1,000 members that worshiped the ancient Sumerian deity Gozer. He was, in addition to an architect and a doctor who conducted unnecessary surgeries. After World War I, the cult performed rituals on the building's roof with the intention 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.
In 1984, Dana Barrett and Louis Tully both lived on the 22nd floor of the apartment building. Dana got off the elevator on her floor. A neighbor, with a New York Times, tucked under his right arm was waiting for it. Dana greeted him. He replied back as he got in the elevator. Dana went down the hall. Louis Tully popped his head out of his apartment. He was in a blue tracksuit and wore a pair of Adidas. They greeted each other. Louis remarked he thought it was the drugstore. Dana paused and asked if he was sick. Louis said he was fine and he just ordered some more vitamins and stuff. He revealed he was just exercising. Dana eyed her door then turned back to Louis. Louis revealed he taped a 20-minute Workout and played it back at high speed on his machine so it only took ten minutes. Dana was losing interest. Louis offered her inside for a mineral water. Dana turned him down saying she would really like to, but she had to go rehearsal. She continued on. He followed. Louis took a rain check on that and told her he always had plenty of low sodium mineral water and other nutritious foods in the house but she already knew that. Dana lowered her case. Dana dryly commented she knew that like she was told this many many times. Louis remembered he was having a big party for his clients. Dana handed her grocery bag to him to hold while she opened her door. It was his fourth anniversary as an accountant. Even though she filed her own own tax return, which he thought she shouldn't do, he still invited her to the party because she was his neighbor and all. Dana smiled and thanked him. She promised she would really try to stop by. Louis continued that she shouldn't leave her TV on so loud when went out. He told her the creep down the hall phoned the manager. A confused look came on Dana's face. She looked inside her apartment. Dana admitted she didn't realize she left it on. Louis revealed he climbed on the ledge and tried to disconnect the cable, but he couldn't get in, so he turned his TV up real loud too so everyone would think all the TVs had something wrong with them. Dana quickly told him bye and closed the door on him. Her apartment was 2206. Unfazed, Louis continued and told her he would see her later and would give her a call. He announced he was going to go have a shower. He tried to open his door but he locked himself out.
In anticipation of Gozer's arrival, the Terror Dogs broke out of a pair of Gothic statues placed on the roof on a Thursday night and proceeded to inhabit Dana and Louis. Dana tried to sneak past Louis Tully's door. He popped out to greet her. Louis invited her in and called it a classic party. Dana admitted she had a date. Louis was shocked. He walked up to her. His door closed. Dana apologized and told him she forgot about the party. She walked away looking guilty. There was a pause. Louis told her it was okay and she could bring him along. Dana's guilt vanished and she grinned. She promised they might stop by. She went into her apartment. Louis replied that was great and he was going to tell everyone the good news. He revealed he had Twister and break dancing planned. Louis realized he was locked out yet again. He called for someone to let him back in. Later that night, Louis then Vinz Clortho ran out the building. Vinz knocked the Doorman on his back. Some time later, Peter Venkman stepped out of a yellow taxi cab with a bouquet of flowers. Police officers took statements from witnesses outside the Shandor Building. Peter asked a police officer what happened. A police officer stopped taking statements from the Doorman and a neighbor and looked up at Peter. The officer remarked some moron brought a cougar to a party, and it went berserk. Peter walked towards the door. The Doorman stepped over and opened them. Peter stated he was going up to Dana Barrett's. The Doorman nodded and showed him in. The next day, Louis/Vinz made his way on foot from Tribeca to Central Park West and found the Shandor Building. People ran out of the building holding boxes in panic, while a bunch of firemen came to see what happened. Police escorted tenants out and spoke to people by the entrance. He crossed the street to the building.
After both were possessed, 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. Strange dark clouds gathered in the blue sky above the Shandor Building. Down below, crowds of people gathered outside the building. A man on a stretcher was wheeled outside. Firefighters ran inside. Priests, nuns, and rabbi prayed in unison. Some believed it was the end of the world and held repent signs. Police kept the civilians behind barricades across the street. The Ghostbusters were escorted to the building by police and the National Guard. People clapped and cheered in response to the Ghostbusters' approach. The police escort arrived. The Ghostbusters got out of Ecto-1 and started to suit up. Peter addressed the crowd behind the police barricades with a hearty hello. Peter shook some hands, leaned in for kisses, and gave high fives. Peter rose Ray's hand high up and asked everyone to acknowledge him. He called Ray "the heart of the Ghostbusters." Ray waved at the crowd. Peter thanked them and told Ray they loved him. Peter walked down the sidewalk. He shook more hands. He told someone he liked their shirt. A redheaded man cheered them on. Ray touched Peter's shoulder. The gurney was pulled out from the back of Ecto-1 by Winston and Egon. Egon took the first Proton Pack off and helped put it on Winston. Ray took the next pack out for Peter. Peter told the crowd he had to run and had a date with a ghost. He instructed the others to be professionals whatever happens. Ray nodded to a National Guardsmen. Agents barked into walkie-talkies.
The Ghostbusters assembled in front of the building. Peter pointed at it. They looked up as lightning struck the building. People braced themselves. The wind picked up. The darkness blotted out the Sun. Ray surmised they had to put a little overtime in on. A piece of the building fell off. The sidewalk lifted. The street ripped apart and the Ghostbusters fell into a pit that opened up below them. People screamed and fell. The front end of a police car from the 41st Precinct slid down the hole. A water line was ruptured. Then it stopped. The crowd slowly came to its feet and looked around. Ray was visible and came out of the pit first. A civilian pointed them out. The crowed wondered if they were all right then cheered them on. The other Ghostbusters climbed out of the pit. Ray stated he was in no way prepared for that. Peter assured the crowd they were fine and they could handle it. The crowd chanted, "Ghostbusters!" over and over. Peter asked the others if they wanted to play rough. They were game. They huddled up, performed a hand-stack, and ran into the Shandor Building. Some time later, they groaned and panted as they climbed the stairs. There were still many more flights to go. Ray was in the lead then Egon, Winston, and Peter. Peter asked where they were. Ray estimated they were in the teens somewhere. Peter requested to be told when they got to the twentieth floor so he could throw up.
The Ghostbusters eventually reached the twenty-second floor. Ray read the floor sign. Peter confirmed they were on the right floor. They stepped into the hall. Ray was relieved. Egon noticed the Art Deco influence and complimented it. Ray asked Peter where Dana's apartment was. Peter told them it was at the end of the hall. Just as the Ghostbusters reached the roof, 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. Gozer appeared and confronted the Ghostbusters. Afterwards, Gozer assumed its new Destructor Form: the Stay Puft Marshmallow Man, after being inadvertently chosen by Ray. The Ghostbusters fired on Stay Puft after it stepped on the Holy Trinity Lutheran Church, the Shandor Building's neighbor. They only succeeded in lighting him on fire. Stay Puft clung to the side of the Shandor Building and looked up. The fire soared up to them. They ran and crouched down. Ray tried to make light of their impending death by a hundred-foot marshmallow man. Peter riffed and pointed out Stay Puft was a sailor in New York, they just had to get him laid and there would not be any trouble. Stay Puft climbed up the side of the building. Egon had a radical idea. He noted the door swings both ways and as a result they could reverse the particle flow through the gate. Ray asked how. Egon proposed they Cross the Streams. Peter recalled Egon's warning about doing that. Peter pointed out they would be in grave danger along with their client Dana Barrett, the nice lady who paid them in advance before she became a dog. Egon revealed there was definitely a very slim chance they would survive. They exchanged looks. Peter stared at Egon. Egon raised an eyebrow. Peter gave Ray a friendly slap to the face. Peter declared he loved the plan and was excited to be a part of it. Let's do it. Winton grumbled the job was definitely not worth another eleven-five a year. They ran to the Temple of Gozer just as Stay Puft lifted his head up and reached for the roof top. Ray narrowly dodged his flaming hand and yelped. Finally, the Ghostbusters reversed the particle flow through Gozer's gateway and caused the biggest interdimensional crossrip since the Tunguska blast of 1909. Dana and Louis changed back into human beings.
Dana lived in room number 2206 on the 22nd floor. One day, after returning to her place, Dana saw a commercial for Ghostbusters on her TV. She smirked and turned the TV off then picked up her grocery bag and walked into her kitchen. She started taking her groceries out on the table: lettuce, a bag of Stay Puft Marshmallows, a carton of eggs. She walked over to a cabinet and put some boxes away. The carton opened by itself. She placed a Wheat Thins box in last and closed the cabinet. The eggs trembled and leaped out of their shells then cooked on the counter. Dana looked up in surprise and exclaimed. She witnessed several eggs jump out and fry atop her kitchen counter then she heard a growl. Dana turned to her refrigerator and walked to it. She opened the door and saw another dimension. In the center was a temple. She also caught a glimpse of the Temple of Gozer, Zuul, and Vinz Clortho inside her refrigerator. One rested at the temple doors raised its head. Another with longer horns popped its head up in front of her and roared, "Zuul!" Dana screamed and closed the refrigerator. She left completely frightened and sought the Ghostbusters for help two days later. Peter investigated with the apartment with a Ghost Sniffer but detected nothing.
Dana Barrett performed sit-ups on the floor of her living room while she watched a news report from WABC-TV's Roger Grimsby. The Ghostbusters' symbol and "GHOSTS?" were in a white square in the upper left corner. Roger Grimsby greeted his viewers and reported the entire eastern seaboard was alive with talk of incidents of paranormal activity, alleged ghost sightings and related supernatural occurrences had been reported across the entire tri-state area. Dana stopped doing her sit ups and watched with intent. Dana listened to Casey Kasem on her Panasonic radio in her kitchen while she chopped vegetables. She took a drink and chuckled at the notion of the Ghostbusters dancing with women at The Rose after they caught a ghost. Dana watched Joe Franklin on a small TV while she stringed her cello. She was out of the shower, in a robe and had a towel wrapped around her head.
On the Thursday 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. Dana snacked, placed her purse down, took off her scarf and outer wear. She turned on a lamp and took a shoe off. The phone rang. It was Dana's mother. Dana told her she was busy as she took off her other shoe. She assured her everything was fine. She slid her outer pants off. She confirmed it was just that one time something went wrong. Dana made some promises to her mother. Dana revealed she had a date to get ready for. She told her it wasn't anyone she knew. Dana revealed he was a Ghostbuster. She confirmed it was one of "those guys on TV." She promised to let her know. Dana told her to give her love to Dad and told her mother goodbye. She hung up and exhaled. She sat back. A Terror Dog's head pressed against the kitchen door from the inside. A growl caught her attention. She stared and swore. Suddenly, a hairy dog-like arm shot out of her armchair and grabbed her. She screamed. Another shot out of the sofa and cover her mouth. Another held her leg down. The armchair swiveled around to face the kitchen. The door opened. Zuul, the Terror Dog, growled. The chair sped off and rushed towards the kitchen. The door closed behind her. This time, however, Dana was unable to escape and was possessed and inhabited by the Terror Dog.
Peter later arrived at her place only to encounter the possessed Dana and discover that she now called herself Zuul, The Gatekeeper and was now seeking The Keymaster. Peter knocked on Dana's door. Dana answered but she was possessed by Zuul. Eerie music played. She had wild hair and wore a bright orange dress. He commented that was a different look for her. She asked Peter if he was the Keymaster. Peter replied he was not, not that he knew of. She slammed the door in his face. He tried to look through peephole then he knocked again. She opened the door again and asked if he was the Keymaster. Peter lied he was and made his way inside Dana's apartment. He lied he was a friend of his and he told him to meet him at her apartment. He inquired about her name. She stated she was Zuul, the Gatekeeper. A glass case in the living room was dripping with Ectoplasm. The kitchen door looked charred. He asked Zuul what they were going to do. She spoke of preparing for the coming of Gozer and led him to her bedroom, attempting to seduce him under the false impression that he was The Keymaster. She got on the bed.
Peter played along. She referred to Gozer as The Destructor. Peter walked to doorway. He asked if they were still going out. He suggested she pick up the place if she was expecting someone. Dana sat up against the headboard. She asked him if he wanted this body. Peter asked if that was a trick question and joked the roses worked. She urged him to take her now. Peter quipped they never talked anymore. Dana grabbed him and pulled him down on the bed. He told her to take it easy and he made it a rule never to get involved with possessed people. She kissed him. Peter clarified it was more of a guideline than a rule. He rolled them over. She stated she wanted him inside her. Peter chuckled and quickly rebuffed her advances. He remarked it sounded like she had at least two people in there already. Peter broke off and went off the bed. She sat up. He urged her to just quit trying to upset and disturb him and to relax. He fixed her skirt and covered her legs then pushed her back down on her back and instructed her to put her hands on her chest. He asked to talk to Dana. She stated there was no Dana, only Zuul. Peter refused to believe that and kept asking for Dana. Dana smiled a vicious smile. An angry Dana spoke in Zuul's demonic voice. Zuul repeated there was no Dana, only Zuul. Peter joked she must have lovely singing voice. He stated he was going to count to three and if he could not talk to Dana, there was going to be some real trouble. After Peter started counting, Dana's eyes fluttered and turned white. After "two," she turned her head side to side. After "two and a half," the voice of Zuul screamed out in frustration. Dana levitated above the bed. Peter took it all in and slowly stood up. She turned over to face the bed. Peter peered up at her as he sat. Peter pleaded with her to come down. Zuul suddenly roared. He recoiled.
Dana was sedated with 300 cc's of Thorazine by Peter. She was rendered unconscious on her bed. Peter called up the Firehouse and spoke with Egon. By then, drawers were opened and clothes were all over the place. Peter informed Egon he was with Dana and Gozer made some moves on his would-be girlfriend. Egon asked how she was doing. Peter quipped he thought they could get her a guest shot on Wild Kingdom then revealed he just whacked her up with about 300 cc's of Thorazine. Peter was sitting on the floor of Dana's bedroom. His coat jacket was off and his sleeves were rolled up to his elbows. Peter noted she was saying she was the Gatekeeper and asked Egon if that made any sense to him. Egon revealed he just met the Keymaster. Peter thought that was wonderful and they should get them together. Egon thought that would be extraordinarily dangerous. Peter relented and advised Egon to hold onto the Keymaster and he would head back to the Firehouse. Egon approved the idea and hung up. Peter held Dana's left wrist and checked her pulse. Peter spoke to Dana like she was listening and declared he had to go to work. He asked her to stay in bed until he came back then kissed her left shoulder.
She finally woke up when the storage grid exploded setting all the captured ghosts free. She got up and walked to her living room and stood at the bay windows. 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. The dust and smoke cleared from the remains of Dana's balcony and living room. She was still standing in the same place from before the explosion. She was unfazed and staring off. Her hair blew in the wind. After the explosion, Dana awaited the successful arrival of The Keymaster. She sat on her armchair with her right leg sprawled over the arm rest. What remained of Dana Barrett's apartment was in ruins amid the giant gaping hole where her wall and balcony once was. Louis/Vinz came to the front door. It swung open. Vinz announced he was the Keymaster. She replied she was the Gatekeeper. He walked in. The door closed. She stood up and walked to him. She grabbed him and they embraced in a passionate kiss, starting the summoning ritual for Gozer. They walked to the former kitchen where a hole in the wall, where the refrigerator was, revealed a hidden stairwell that led up to the Temple of Gozer on the roof where they completed the ritual to open the gates for the coming of Gozer. Some time later, the Ghostbusters arrived. Dana's front door fell out its frame and landed on the floor. They walked through what little of the apartment remained. Ray noticed the stairwell and pointed at it. He asked where they went. Peter stated the obvious, they went up. Peter was about to walk through the passage that was concealed by the wall and refrigerator but lightning went off. Peter motioned everyone to go ahead. They took it to the roof.
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 targeted by Vinz Clortho during a party he held to celebrate his fourth anniversary as an accountant. As Louis himself was busy at the sink, a woman wearing glasses came in and asked him if he had any Excedrin or Extra-Strength Tylenol, presumably for a headache. He handed her a bottle of generic acetylsalicylic acid which was apparently just as effective, but much better value for money when it came to quantity as well as quality. As the lady wandered off to get a drink, Louis left the kitchen with what he calls authentic Nova Scotia smoked salmon which was another good buy, also stopping to ask if one of his guests was having a good time. As he asked a number of seated people if it would be a good idea to break out some Brie cheese, a tall blonde wearing pink stood up and said that she was going home, apparently bored with the proceedings. Louis suggested that they start dancing and encourage other people to join in in order to bring a bit more life to the party. The blonde agreed, but their impromptu dancing to the "Disco Inferno" chorus of 'Burn, Baby, Burn' was almost immediately cut short by the doorbell and Louis went to answer it. He greeted the new arrivals, Ted and Annette Fleming. He explained his relationship with them as clients as he went to put their coats in his bedroom, so wrapped up in it that he failed to notice Vinz was waiting for him on his bed. It growled softly as he opened the door, but he didn't notice threw Ted and Annette's coats onto its head.
Unaware of the imminent danger to come, Louis asked if anyone would like to play Parcheesi, but an explosive growl from the dog in the bedroom caused everyone to look confusedly at the door. Confused as well, Louis turned and said, "Okay, who brought the dog?", apparently under the impression that one of his guests had somehow managed to smuggle their pet into the party. Milliseconds after he said this, there was a huge roar and the guests closest to it screamed in terror as the hellhound literally burst through the bedroom door, causing Louis to flinch as it flew past him towards the refreshment table. The guests grouped around it also screamed as the dog landed right on the table, demolishing it completely. A man and several women fled into the kitchen, the tall blonde vaulted right over the coffee table and a cowering Annette Fleming to jump right out the window and a second man cowered behind a chair as Vinz focused its attention on Louis. Joining everyone else in screaming, Louis fled to the door and ran out into the hall as the small woman from before, frozen in fear next to the door, clutched her purse to her chest and gasped at the creature. Louis fled his apartment with the Terror Dog in hot pursuit. The police conducted a brief investigation of Louis's apartment later that night around 9 pm.
Ghostbusters: The Video Game
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. Ray also later mentions both when the team discusses the Mandala upon returning from the Natural History Museum. 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. 
Secondary Canon History
After Gozer was defeated in 1984, Rebecca Morales spoke to Louis outside the building. He thought writing a book about the Ghostbusters was a pretty good idea and agreed to talk to her about them. He suggested going out for coffee but she was buying. As a courtesy, he advised her to then keep the receipt and use it as a write-off. Years later, Koza'Rai recalled the death of his son, Gozer, and the scene of the Ghostbusters crossing the streams atop Central Park West is seen. A few 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.
Peter was caught in an explosion caused by Ron Alexander and Jillian Holtzmann testing their Remote Access Teleportation Unit. Taken to the hospital, Peter was left in a state similar to a coma. He found himself on the psychic plane and hoped he wasn't possessed again. A voice was heard and invited him to a door. Peter found himself in a room that looked like Dana's kitchen at 550 Central Park West and an entity took on Dana's appearance. Peter noticed it got one detail wrong: Dana didn't do broccoli. It insisted it was just trying to put him at ease. Jenny Moran suddenly jumped the entity and told Peter to run. Peter pointed out there was nowhere to run. Jenny was tossed off. It insisted Peter's unconscious state allowed for easy contact and it only wanted to pass along a warning. Peter was skeptical but the entity warned them the Ghostbusters' interdimensional presence disrupted the balance in the multiverse and would catch the attention of P.K.E. predators. Jenny found the warning too convenient.
In an alternate timeline, the Ghostbusters chose not to cross the streams and the top section of the building was spared from any destruction. Likewise, after Gozer was sent back in time, it went back through its portal and the building was again spared.
Ghostbusters: The Board Game
Ivo Shandor distorted reality and twisted the city into a maze filled with ghosts. The Ghostbusters navigated the labyrinth towards the Shandor Building and closed Beckon Spirit World Gates along the way. As his last act before getting trapped, Shandor transported the rooftop of the building back in time to before Gozer was banished. The Ghostbusters now had to battle Gozer once more. They crossed the streams to seal the Unison Gates and defeated Gozer.
From a script stand-point, deciding what was going on at 55 Central Park West was difficult. A coffee table book titled "Rooftops of New York" came up during development. The shots of temples on top of buildings and strange Gothic structures seen in the book influenced the design concepts for the apartment building.
The crew went with their second choice for a filming location, 55 Central Park West. 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. John De Cuir added a "0" to the address to misidentify it and decorated it a bit. Eight stories were added. In order to augment the building, the taller building behind it was painted out entirely and the one on the left was shortened. For closer shots, a 15 foot miniature was constructed. Its construction was supervised by Mark Stetson.
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. 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. John DeCuir and his team redressed the building and added breakaway awnings for the earthquake later in the movie.
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. 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. The set was built 6 feet off the soundstage floor so that operators could work from underneath and move the Terror Dogs. After going through planning stages of camera angles, several sections were deemed unnecessary and never constructed such as Dana's bathroom or Louis' patio. Others sections were faithfully reproduced, like Dana's terrace. 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. Other sections, like Louis' wall and door were made for easy breakaway later on when Vinz Clortho tears through them. 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. Signourney Weaver actually stood there in the shot through the explosion. Having a sense it would be a powerful shot, Ivan Reitman used a big tight lens, at about 300 or 400mm, in slow motion on Weaver for the close-up.
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. 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. Not everything was in sync during production. The articulated Zuul Terror Dog puppet used in the scene wasn't ready until the last days of principal photography. After the scenes when Dana's apartment is blown up, John DeCuir's team went back and put the set completely together for the one Terror Dog shot. City Hall revoked the permit allowing the film crew to film Ecto-1's escort to Central Park West out of concern about the traffic snarl it would cause. They revoked the permit on the day filming took place at City Hall. Bill Murray and Dan Aykroyd disappeared for one hour and approached Mayor Koch for help. Koch had the issue fixed so they could film the drive to Central Park West. During filming at the New York location, street traffic was brought to a standstill, shutting down a good deal of Mahattan. 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. The final scene in the movie, the Ghostbusters, Dana, and Louis exiting the building, was done at the end of principal photography in New York.
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. 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. 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. 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. 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.
The building at 55 Central Park West (which was given the address 550 Central Park West in the movie), 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.
- In the August 5, 1983 draft of the movie script, the apartment was at 78th and Riverside Drive. By the September 30 draft, it was at 78th and Central Park West.
- According to the August 5, 1983 draft of the movie script, the apartment was the only building built by Ivo Shandor. He completed it in 1923 and lived in its penthouse.
- 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.
- In the final shooting script, the building was stated to have 35 flights of stairs. 
- 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.
- At least one of the gargoyles was added in optically to the Shandor building.
- After a couple takes of the entrance into Dana's apartment, Ivan Reitman suddenly yelled at Bill Murray to do something. Murray improvised the piano riff and "They hate this."
- The radio in the Dana's kitchen is the Panasonic RXF20. Her Cuisinart Food Processor is more visible in the background. Near the sink was a near empty bottle of Windex.
- The red book near the small Sony TV when Ray is asked about Elvis is "Who's on First" by William F. Buckley. It is a spy thriller and the third in a series.
- The bulging and glowing kitchen door when Zuul takes Dana was simply lit and the door itself was rubber.
- The bulging and glowing kitchen door was Ivan Reitman's nod to a similar effect done by Steven Spielberg on "Close Encounters of the Third Kind."
- The sequence of Vinz Clortho bursting through Louis's bedroom door, landing on the buffet table and crashing through the apartment door into the hallway were post-production blue-screen shots utilizing a small-scale stop-motion puppet animated frame by frame. The closeup shots and scenes where Vinz didn't walk, run or jump were filmed on the live-action set using the full-size articulated puppet.
- When Peter shows up at the Shandor building for his date, the exterior was filmed in a back lot of Columbia Studios.
- The actor who portrays the Doorman is different than the actor used in the New York shoots because the decision was made to save money from the expense of bringing the New York actor to Los Angeles.
- During the shot of possessed Dana levitating, Sigourney Weaver was placed in a fiberglass body shell concealed beneath her flowing gown. It wasn't discovered until later in dailies, but the shadow of the motorized support bar was seen moving up and down the wall. The shot was redone with a new lighting scheme. The bar was supposed to be hidden in the drapery. Ivan Reitman purposefully kept the camera level at the same level so the audience couldn't see it.
- When Louis/Vinz arrives at the Shandor Building, Ivan Reitman, the camera and some of the crew can be seen in the reflection of the mirror inside the lobby just before the camera pans upward.
- In the script, Dana's apartment was destroyed by Zuul and Vinz' consummation.
- The filming of the Ghostbusters arrival at the Shandor building caused major traffic in Manhattan, effectively shutting down most the area. Dan Aykroyd got to meet science fiction writer Isaac Asimov during this shoot, but Asimov was angry about the traffic. Police had to arrest an obnoxious motorist during the shoot.
- During the New York shoot, near the crowd of extras outside 550 Central Park West, first assistant director Peter Giuliano was heckled by a paparazzi named Steve Sands. An extra portraying a Hasidic Jew also got tired of Sands so he picked him up, walked across Central Park West, and threw him over the wall.
- The ornamental lamps affixed to the exterior of the Shandor Building appear on the ex-Cardassian space station in the Star Trek: Deep Space Nine episode "Fascination" (from Season 3). The lamps were even immortalized in the Star Trek Online video game.
- 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.
- The pullback shot of the Ghostbusters walking through Dana's destroyed apartment had several changes and additions:
- The initial concept of the pullback called for the final image to be a fisheye lens view of New York. Richard Edlund took a still photo of the area of New York from a helicopter which was used for discussing the shot. Matthew Yuricich did a sketch of the fisheye perspective for the final composition. Ivan Reitman approved it but which Yuricich wasn't sold on it and soon everyone agreed on a less exaggerated perspective.
- There was a disagreement about what side of the building Dana's apartment was on. Yuricich was already painting and had to switch the light and dark sides of the building.
- Yuricich and other members of the Boss crew were photographed in the company parking lot at an angle corresponding to the perspective on a balcony on a building in the scene. One crew member got carried away and did what Richard Edlund described as looking like the "St. Vitus dance." To animated the crowds, scratches were made in a black glass matte then a randomly colored board resembling a Jackson Pollack painting was placed behind the glass and lit so that bits of color showed through the scratches and moved back and forth.
- When Stay Puft is climbing the Shandor Building, the red tie is missing.
- As an inside joke and a way to vent during production, the Boss Film crew drew occupants of the building in the windows of the miniature but it was so minute that they wouldn't show up on film. Some were couples having sex. Others were agents that earned their ire and were placed near the roof were the temple would be blown up.
- The Ghostbusters: Storybook refers to it as The Shandor, an old fashioned skyscraper designed and built not long after the First World War.
- 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.
- In the September 29, 1988 draft, on page 15, Egon and Ray try to recruit Peter after The World of the Psychic tapes its latest episode. He vehemently refuses to help, citing they bubbled up a 100 foot marshmallow man and alludes to when they blew off the top 3 floors of 550 Central Park West.
- In Ghostbusters: The Video Game, Realistic Versions, the building is mistaken for making a cameo appearance during the cutscene showcasing the Ghostbusters driving though Central Park. It is really the Paramount Building. An asset of the Paramount was used from the Panic in Times Square Level.
- On page six of Ghostbusters Volume 2 Issue #11, 550 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 550 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 550 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.
- On page seven of Teenage Mutant Ninja Turtles/Ghostbusters Issue #3, John Bruno's layout of Louis Tully's apartment from the first movie, seen in Making Ghostbusters page 120 is on the white board.
- On page one of Teenage Mutant Ninja Turtles/Ghostbusters Issue #4, the schematic of Louis' apartment makes a non-canon cameo once more on the white board.
- On Idulnas and Ivo Shandor's Ghostbusters: The Board Game Character Cards, 5500 Central Park West is mentioned.
- In Ghostbusters International #3, on page 6, in panel 3, on the drawer cabinet Janine pulls from, the label starts with 2206 which was Dana's former apartment in the Shandor Building.
- On page 1 panel 1 of Ghostbusters International #4, 2206 is on Janine's calculator. 2206 is a nod to Dana Barrett's apartment number in the first movie.
- On page 52 of the revised edition of Ghosts From Our Past, the description of Erin Gilbert looking inside the refrigerator is a nod to when Dana Barrett saw the Temple of Gozer in the first movie and Peter Venkman's description of the junk food in it.
- On page 20 of Ghostbusters International #10, in panels 2 and 4, obscured by the foliage, are 55 Central Park West and the 10 West 66th Street Apartments.
- The Regular Cover of Ghostbusters: Funko Universe reenacts the scene of the Ghostbusters looking at the Stay Puft Marshmallow Man from 550 Central Park West.
- The Retailer Exclusive Cover of Funko Universe features Dana's kitchen at 550 Central Park West.
- The section of map on the Regular Cover of Ghostbusters 101 #4 references 550 Central Park West.
- On page 18 of Ghostbusters 101 #6, the ninth image is from when the Ghostbusters shot the Stay Puft Marshmallow Man in the first movie. Abby Yates appeared in place of Ray.
- On page 7 of Ghostbusters Crossing Over Issue #2, the "room" recreates Dana's kitchen from the first movie as seen in Chapter 14: Welcome Aboard while Peter's outfit is based on the one he wore to his initial investigation in Chapter 10: Checking Out Dana and the entity takes on the form of Dana Barrett from the first montage in Chapter 14 in the first movie down to her chopping vegetables.
- On Cover B of Ghostbusters Year One Issue #1, the New York Times Monday classifieds references, Dan Aykroyd encounter with Isaac Asimov during filming in Central Park West amid a traffic jam production caused.
- On Cover RI of Ghostbusters Year One Issue #3, the Shandor Building appears.
- Chapter 06: Spook Central
- Chapter 07: Fried Eggs & Zuul
- Chapter 09: The 1st Customer
- Alluded to by Dana, Ray, and Peter.
- Chapter 10: Checking Out Dana
- Chapter 14: Welcome Aboard
- Chapter 16: Dogs Drag Dana
- Chapter 17: "Who Brought the Dog?"
- Chapter 18: Terror on the Tavern
- Chapter 19: Peter's Date with Zuul
- Chapter 20: Keymaster
- Chapter 21: Out of Biz
- Chapter 22: Holding Cell
- Alluded to by Egon and Ray.
- Chapter 23: Keeper Meets Master
- Chapter 24: Biblical
- Chapter 25: Working the Crowd
- Chapter 26: Gozer
- Chapter 27: Stay Puft Man
- Chapter 28: Crossing Streams
- Ghostbusters II
- Ghostbusters: The Video Game
- IDW Comics
- "Displaced Aggression 4"
- Volume One
- Volume Two
- Ghostbusters Annual 2015
- "Daydreams and Nightmares!"
- Dream only
- "Daydreams and Nightmares!"
- Volume Three
- Ghostbusters 101
- Ghostbusters Crossing Over
- Issue #2
- Recreation in mental plane
- Issue #2
- Ghostbusters Year One
- Insight Editions
- IDW Comics
- Cryptozoic Entertainment
- Ghostbusters: The Board Game
- Researching Spook Central Campaign, Scenario #1
- Researching Spook Central Campaign, Scenario #3
- Researching Spook Central Campaign, Scenario #4
- Researching Spook Central Campaign, Scenario #1
- Ghostbusters: The Board Game
- 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."
- 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."'
- 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."
- Harold Ramis (1999). Ghostbusters- Commentary (1999) (DVD ts. 24:22-24:27). Columbia TriStar Home Video. Harold Ramis says: "And someone produced a coffee table book called Rooftops of New York."
- Harold Ramis (1999). Ghostbusters- Commentary (1999) (DVD ts. 24:28-24:37). Columbia TriStar Home Video. Harold Ramis says: "And we saw all these interesting temples on tops of buildings, and strange Gothic structures and they went with that as a design concept."
- 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."
- 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."
- 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."
- Joe Medjuck (1999). Ghostbusters- Commentary (1999) (DVD ts. 23:58-24:02). Columbia TriStar Home Video. Joe Medjuck says: "This top is an optical. The building exists, but it doesn't have a top."
- Joe Medjuck (1999). Ghostbusters- Commentary (1999) (DVD ts. 24:39-24:50). Columbia TriStar Home Video. Joe Medjuck says: "The building actually exists at 55 Central Park West. Then I think we added one number so to misidentify it, and then... John De Cuir decorated it a bit and then optically added that top."
- 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."
- 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."
- 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."
- Beyond the Marquee Joe Medjuck Interview 9/15/14 Joe Medjuck says: "We planned everything to shoot at 55 Central Park West, which was a co-op very near where we were staying at the Mayflower hotel. We were building a copy of the front of the building on the Columbia Ranch (now the Warner Bros. Ranch) in LA and designing everything around it for the finale. And then they announced they didn't want us to shoot there. We were already in New York and going to shoot. It was scary, but we eventually talked them into reconsidering letting us shoot there."
- 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."
- 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."
- 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."
- 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."
- 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."
- 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."
- 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."
- 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."
- 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."
- 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."
- 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."
- Ivan Reitman (1999). Ghostbusters- Commentary (1999) (DVD ts. 01:10:14-01:10:21). Columbia TriStar Home Video. Ivan Reitman says: "This is an actual set, that we sort of cut in. And Sigourney actually stood there, through this following explosion."
- Ivan Reitman (1999). Ghostbusters- Commentary (1999) (DVD ts. 01:10:26-01:10:41). Columbia TriStar Home Video. Ivan Reitman says: "She's there and I've got a big tight lens, at about 300 or 400mm on her for this close-up... in slow motion, because I had the sense that if we could capture... in slow motion, because I had the sense that if we could capture... her like that, it would be very powerful."
- 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."
- 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."
- Shay, Don (November 1985). Making Ghostbusters, p. 112 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Michael Gross says: "Articulated puppets take a long time to build -- and we knew the articulated Terror Dog wouldn't be ready until our last couple days of shooting. So all of the shots requiring an articulated dog, such as the one in Dana's kitchen, had to wait until the very end. Unfortunately, by that time, Dana's apartment set had been completely trashed for later scenes in the film -- holes knocked in the walls and floors torn up and that sort of thing. So after everything else was done, John DeCuir and his crew had to go in and put that set completely back together -- for one Terror Dog shot."
- Peter Giuliano (2019). Cleanin' Up The Town: Remembering Ghostbusters (2019) (Blu-Ray ts. 1:28:56-1:29:35). Bueno Productions. Peter Giuliano says: "We had this massive location on Central Park West between, I think was 66th and 67th Street. So it's also where the traffic not only goes north and south in the city, but also east and west. The city, when they finally realized what we wanted to do, panicked and revoked the permit. When they did it, it was the day we were shooting at City Hall. And all of a sudden, we couldn't find Bill or Danny. And for an hour, we couldn't find them. And then they reappeared. And they said, we just talked with Mayor Koch, because we were at City Hall. So they went to see the real mayor. And he's gonna fix it, and we're gonna be able to shoot."
- 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."
- 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."
- Ivan Reitman (1999). Ghostbusters- Commentary (1999) (DVD ts. 01:38:05-01:38:12). Columbia TriStar Home Video. Ivan Reitman says: "We shot this at the end of shooting in New York. And I had this wonderful feeling while we were filming this sequence."
- 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."
- 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."
- Joe Medjuck (1999). Ghostbusters- Commentary (1999) (DVD ts. 55:26-55:29). Columbia TriStar Home Video. Joe Medjuck says: "It's now the Warner Ranch. We did it so we could do the earthquake there."
- Harold Ramis (1999). Ghostbusters- Commentary (1999) (DVD ts. 55:31-55:33). Columbia TriStar Home Video. Harold Ramis says: "The street opening up."
- 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."
- Joe Medjuck (1999). Ghostbusters- Commentary (1999) (DVD ts. 01:20:52-01:20:58). Columbia TriStar Home Video. Joe Medjuck says: "And they had the fake sidewalk on top of the real pavement."
- Harold Ramis (1999). Ghostbusters- Commentary (1999) (DVD ts. 01:21:21-01:21:22). Columbia TriStar Home Video. Harold Ramis says: "Climbing out is New York."
- Joe Medjuck (1999). Ghostbusters- Commentary (1999) (DVD ts. 01:21:25-01:21:29). Columbia TriStar Home Video. Joe Medjuck says: "Just the actual break up was in LA, and then all this was New York again."
- 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."
- 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."
- 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."
- Aykroyd, Dan & Ramis, Harold (1983). Ghostbusters (First Draft August 5, 1983) (Script p. 109). Peter Venkman says: "Dana's building. On 78th and Riverside."
- Aykroyd, Dan & Ramis, Harold (1983). Ghostbusters (First Draft August 5, 1983) (Script p. 109). Egon Spengler says: "It was completed in 1923. Shandor lived in the penthouse."
- Third Draft, Revised 10/7/1983, p. 113 via Spook Central
- 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."
- 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."
- 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."
- 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. "
- Josh Gad YouTube "Who Ya Gonna Zoom? | Reunited Apart GHOSTBUSTERS Edition" 12:48-12:50 6/15/2020 Bill Murray says: "Yeah. Yeah, that was... yeah."'
- Josh Gad YouTube "Who Ya Gonna Zoom? | Reunited Apart GHOSTBUSTERS Edition" 12:50-13:09 6/15/2020 Sigourney Weaver says: "I remember how that happened. Uh, because we'd done a few takes and suddenly Ivan went, "Oh, come on, Bill! Do Something!" [laughter] And then he did that."'
- Harold Ramis (1999). Ghostbusters- Commentary (1999) (DVD ts. 51:17-51:19). Columbia TriStar Home Video. Harold Ramis says: "Just this cheap thing of a light behind a door."
- Ivan Reitman (1999). Ghostbusters- Commentary (1999) (DVD ts. 51:34-51:36). Columbia TriStar Home Video. Ivan Reitman says: "Yes, that was a rubber door."
- Ivan Reitman (1999). Ghostbusters- Commentary (1999) (DVD ts. 51:20-51:28). Columbia TriStar Home Video. Ivan Reitman says: "I know. I said, okay. Well, I'd seen "Close Encounters" and I said, "if Spielberg can do those lights, I can do those lights and we'll do it in a kind of different way.""
- Harold Ramis (1999). Ghostbusters- Commentary (1999) (DVD ts. 51:32-51:34). Columbia TriStar Home Video. Harold Ramis says: "The door bending, of course."
- Wallace, Daniel (2015). Ghostbusters The Ultimate Visual History, p. 60. Insight Editions, San Rafael CA USA, ISBN 9781608875108. Line reads: "The illumination peeking through the doorframe was Reitman's nod to a similar effect in Spielberg's Close Encounters of the Third Kind."
- Shay, Don (November 1985). Making Ghostbusters, p. 114 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "Three scenes in the sequence -- the Terror Dog bursting through the bedroom door, then landing on the buffet table and later crashing through the apartment door into the hallway -- were postproduction blue-screen shots utilizing a small-scale stop-motion puppet animated frame by frame. Closeups -- and other scenes where the creature was not required to walk, run or jump -- were achieved on the live-action set using the full-size articulated puppet."
- 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. "
- 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."
- Shay, Don (November 1985). Making Ghostbusters, p. 128 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "Members of Chuck Gaspar's physical effects team make adjustments to the levitation rig employed to lift Dana off the bed and roll her over in midair. During the shot, Sigourney Weaver was placed in a fiberglass body shell concealed beneath her flowing gown. Attached at the waist was a motorized support bar which extended out through a hidden slot in the rear wall. The effect worked well on the first take -- in fact, not until later in dailies did anyone notice that the support bar shadow could be seen moving up and down the wall. As a result, the shot had to be reaccomplished with a different lighting scheme."
- Ivan Reitman (1999). Ghostbusters- Commentary (1999) (DVD ts. 57:51-58:05). Columbia TriStar Home Video. Ivan Reitman says: "Now she's got a full body cast on to take the weight--her weight... as she starts to rise. And it's on a pivot. It's got a built-in steel band around it that pivots around an arm that..."
- Ivan Reitman (1999). Ghostbusters- Commentary (1999) (DVD ts. 58:06-58:17). Columbia TriStar Home Video. Ivan Reitman says: "Hidden in the drapery that you can't see because of the camera angle. I always kept the level of the camera at the same level as the horizontal pole, so that you can't see it on film."
- Ivan Reitman (1999). Ghostbusters- Commentary (1999) (DVD ts. 55:36-56:14). Columbia TriStar Home Video. Ivan Reitman says: "Yeah. The-- In fact... I did this show "Merlin" on Broadway with Doug Henning and he had a flying... He had a flying trick in the show. And that's where I learned how we could do this sort of 360-degree turn, which is a very tough thing to pull off live. So this next sequence is all live, there are no special--no optical effects in it at all. It was all done... And I think it's what allows the actors to both improvise... and respond to the reality of that situation in a way that you can't when you're, sort of, pretending with optical effects."
- Joe Medjuck (1999). Ghostbusters- Commentary (1999) (DVD ts. 58:27-58:35). Columbia TriStar Home Video. Joe Medjuck says: "Now we had to re-shoot this scene. Because we're sitting in dailies saying how good it was and Shelley, I think, said, "Look over in the corner," and you could see a shadow of the arm."
- Ivan Reitman (1999). Ghostbusters- Commentary (1999) (DVD ts. 58:36-58:42). Columbia TriStar Home Video. Ivan Reitman says: "No, it wasn't the arm. No, you saw a guy. There was a guy in the shot. Yeah, I think he was sitting way over there, in the far corner."
- Joe Medjuck (1999). Ghostbusters- Commentary (1999) (DVD ts. 58:42-58:43). Columbia TriStar Home Video. Joe Medjuck says: "No one was looking at him, except the editors."
- Joe Medjuck (1999). Ghostbusters- Commentary (1999) (DVD ts. 58:46-58:50). Columbia TriStar Home Video. Joe Medjuck says: "We had to go back. Nowadays you go optically to take it out."
- Shay, Don (November 1985). Making Ghostbusters, p. 160 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Joe Medjuck says: "In the film, the apartment is already demolished when Louis arrives. But in the script, it is the force of Zuul the Gatekeeper and Vinz the Keymaster consummating their passion that blows the place apart. That was their purpose in coming together - make love. And then, on a second level, there's the comic irony that under his bizarre set of circumstances - which neither of them will remember - Louis finally gets to make it with Dana."
- 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. "
- 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. "
- 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. "
- Peter Giuliano (2019). Cleanin' Up The Town: Remembering Ghostbusters (2019) (Blu-Ray ts. 2:03:30-2:03:58). Bueno Productions. Peter Giuliano says: "Paparazzi guy, this guy Steve Sands, he's famous in New York. You confront him, he knows karate, and he doesn't really -- So he was really giving me a hard time on Central Park West. There was an extra fairly large man dressed as a Hasidic Jew. He just got fed up with Steve, grabbed him, carried him across Central Park West and then threw him over the wall. And then he came back and said, "that man was very irritating." I said, "Yes, that man was very irritating.""
- Spook Central Facebook Page - Image Comparison
- Shay, Don (November 1985). Making Ghostbusters, p. 165. New York Zoetrope, New York NY USA, ISBN 0918432685.
- 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. "
- 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. "
- American Cinematographer June 1984 Line reads: "The script called for a long pull-back to the New York skyline after the explosion in Dana's apartment. A set was constructed for the apartment so that the actors could be photographed through the hole in the side of the building and then a matte painting was to be used to permit the pull-back. The initial concept called for the final image to be a fisheye lens view of New York. Edlund took a still photo of the area of New York from a helicopter which was used for discussing the shot and Yuricich did a sketch of the fisheye perspective for the final composition which Reitman approved, but which Yuricich himself was not sold on. He did another sketch in which he matched the perspective of the still photo and everyone agreed that the less exaggerated perspective was more appropriate."
- American Cinematographer June 1984 Line reads: "Unfortunately, there was some disagreement about which side of the building Dana's apartment was located on, which resulted in the problem with the direction of the light in the scene. Yuricich was initially told to match the direction of the light in the still photo and the set on which the live-action was staged was lit to match the direction of the light in the photo as well. Subsequently, it was concluded that the apartment had to be on the other side of the building with the result that the light needed to be coming from the opposite direction. Yuricich had begun work on the painting using the enlargement and now found himself having to reverse the direction of the light as he painted over the photo. What had been the dark side of a building now had to be the light side and vice versa. He also had to paint all the areas of the image that had originally been designed to be the exterior part of the set."
- American Cinematographer June 1984 Line reads: "In order to justify the lack of traffic on the streets in front of the building, Yuricich added police barricades, but he felt it was necessary to add some kind of movement in other areas of the frame. Several members of the crew including Yuricich himself were photographed in the parking lot at an angle corresponding to the perspective on a balcony on a building in the scene. One member of the group got carried away with his big chance and the result was a degree of movement that Edlund described as looking like St. Vitus dance. There were usable pieces though and the footage was combined with the painting. Lights on the police cars were made to flash with another pass through the camera and movement was introduced in the crowds with a variation on the technique used to animate crowds in Ben-Hur. Instead of drilling holes in the actual painting, scratches were made in a black glass matte. A randomly colored board resembling a Jackson Pollack painting was placed behind the glass, lit so that bits of color showed through the scratches and moved back and forth. It was possible to composite all of these elements using separations of the live-action footage on the matte camera directly as well as sending separate elements to the optical printing department, and given the pressures on the optical printing department towards the end of the production, this seemed the preferable route."
- Virgil Mirano (2019). Cleanin' Up The Town: Remembering Ghostbusters (2019) (Blu-Ray ts. 1:46:59-1:47:06). Bueno Productions. Virgil Mirano says: "When you look in the window and you can see – actually, they had characters in there, and they were doing very interesting things."
- Michael Gross (2019). Cleanin' Up The Town: Remembering Ghostbusters (2019) (Blu-Ray ts. 1:47:07-1:47:10). Bueno Productions. Michael Gross says: "If you look in this window, you ca see two people getting it on."
- Michael Gross (2019). Cleanin' Up The Town: Remembering Ghostbusters (2019) (Blu-Ray ts. 1:47:11-1:47:15). Bueno Productions. Michael Gross says: "We got a picture of, I don't know, the agent they hate the most."
- Michael Gross (2019). Cleanin' Up The Town: Remembering Ghostbusters (2019) (Blu-Ray ts. 1:47:27-1:47:31). Bueno Productions. Michael Gross says: "No, you can't see it on film, but that's how they get a lot of the pressure off."
- Digsby, Ann (1984). Ghostbusters: Storybook, p. 14. Scholastic Inc., New York NY USA, ISBN 0590336843.
- Ghostbusters: Storybook Chapter 2
- Ghostbusters: Storybook Page 14 close-up
- 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."
- 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."
- Idulnas's Character Card (2015). Cryptozoic Entertainment- "Ghostbusters: The Board Game" (2015) (Character Card). Card reads: "After the defeat of Gozer by the Ghostbusters on the rooftop of the Shandor Building, Idulnas began his mission on our earthly place, which is to bring about a re-selection of the Destructor Form of Gozer."
- Ivo's Character Card (2015). Cryptozoic Entertainment- "Ghostbusters: The Board Game" (2015) (Character Card). Card reads: "As a human, Ivo Shandor was leader of the Cult of Gozer and the architect who designed the building at 55 Central Park West as a giant altar to the Sumerian God of Destruction."
- Winston Zeddemore (1999). Ghostbusters II, Chapter 1: Start (1989) (DVD ts. 04:49-04:51). Columbia Pictures. Winston Zeddemore says: "Blew the top three floors off an uptown high-rise."
- Egon Spengler (2009). Ghostbusters: The Video Game (Realistic Version)- Museum of (Super)Natural History Level "During cinematic after Checking Out the Library Level" (2009) (PC/PS3/Xbox 360). Atari. Egon Spengler says: "Including Dana Barrett's old building on Centeral Park West."
- Ray Stantz (2009). Ghostbusters: The Video Game (Realistic Version)- Return to the Sedgewick Level "During cinematic after Museum of (Super)Natural History Level" (2009) (PC/PS3/Xbox 360). Atari. Ray Stantz says: "Before he died, Shandor must have set some mechanism in place similar to the antenna in Dana's building."
- Winston Zeddemore (2009). Ghostbusters: The Video Game (Realistic Version)- Central Park Cemetery Level "Over radio, after Rookie scales the gate at start of level" (2009) (PC/PS3/Xbox 360). Atari. Winston Zeddemore says: "At Dana Barrett's building the night she turned into a dog."
- Egon Spengler (2020). IDW Comics- "Ghostbusters Year One Issue #4" (2020) (Comic p.6). Egon Spengler says: "Our Containment Unit was pushing capacity, and the ghosts inside were attracted like iron to a magnet by that massive influx of PKE."
- Narrator (2016). Insight Editions- "Tobin's Spirit Guide" (2016) (Book p.81). Paragraph reads: "Gozer ultimately manifested at the site of a temple built atop 55 Central Park West, where he was confronted by the Ghostbusters."
- Narrator (2016). Insight Editions- "Tobin's Spirit Guide" (2016) (Book p.84). Paragraph reads: "To achieve this end, Idulnas captured Dr. Stantz---who was responsible for initially selecting Gozer's Stay Puft form---and took him to the rebuilt Gozerian temple atop 55 Central Park West."
- Narrator (2016). Insight Editions- "Tobin's Spirit Guide" (2016) (Book p.87). Paragraph reads: "He designed many buildings but ultimately only built one: the apartment tower at 55 Central Park West, upon which he erected a temple to Gozer."