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The Manhattan Museum of Art[1] was the place Dana Barrett worked, and where the painting of Vigo resides within the museum's new Romantic exhibition hall. Janosz Poha was the head of its art restoration department.

History

In late 1989, the Vigo painting was brought up from Archives to Room 304, part of the Restoration department, be restored for an upcoming Romantic exhibit. Janosz had the painting under an arch. Janosz's attention shifted over to the work of an art restorer at her station. He told her everything she was doing was bad and he wanted her to know it. Janosz passed by another restorer, an older man, who just stared blankly at him. He told the older man to be careful. He lamented no one listened to him. Janosz went to Dana Barrett's station and perked up. He asked how she was doing and how the Bonnington was coming along. She felt it was coming along fine and thought the mixture he gave her was working really well. Janosz joked he made pretty good cocktails then complimented her work. She thanked him. He mused it would not be long before she could assist him in more important restorations. It was 12:40 on the clock on the wall. Janosz pulled some white fuzz of her hair. She turned to him. He showed her it was just a white thing. Dana thanked him for the offer, referring to him as "Dr. Poha" but he cut her off, insisting on just "Janosz." Dana continued, she enjoyed working at the museum but now that her baby was a little older, she was going to try to go back to the orchestra. Dana cleaned her brush.

Janosz was sorry to hear that she would be quitting and offered to take her out for brunch. Dana cited an appointment she had to go to. Dana hastily put her tools away and put her coat on. Janosz noted that whenever he asked her, "Well, can you do something?", she said, "No, I can't do something." He asked if he had bad breath or something. Dana assured him he did not. She exhaled quietly and walked away. Janosz gave her a rain check. He stood next to the Vigo painting and talked to himself, believing she liked him. Vigo's head partially bulged out of the painting unnoticed. The act of moving the Vigo painting allowed him to begin channeling more and more energy from the River of Slime beneath New York City. Unable to leave the painting and in need of an agent, Vigo decided to make Janosz his servant. One evening, Janosz Poha was still at the Manhattan Museum of Art. He was about to apply a touch up on an eyelid on the Vigo painting when Vigo fired orange hued lightning bolts at him. Janosz screamed in shock and fell off the step ladder. He exclaimed he was "stinging." On the floor, Janosz tried swatting his arm to repel the bolt. The painting shifted in appearance to a chamber filled with the Psychomagnotheric ectoplasm. Vigo reappeared as a giant floating head. He ordered Janosz to listen to him. Janosz was naturally surprised to hear a voice. Vigo identified himself as "Vigo, the Scourge of Carpathia, the Sorrow of Moldavia." Janosz implored Vigo to command him. Vigo monologued, "On a mountain of skulls in the castle of pain I sat on a throne of blood. What was, will be. What is, will be no more! Now is the season of evil." Janosz keyed on "evil." Vigo ordered him to find a child so he could live again. The painting's image transitioned back to normal. Janosz processed what was said. He questioned the child part. The painting fired lighting bolts directly into Janosz's eyes. He patted his chest then his face. Janosz calmly stated "a child."

After the Ghostbusters went back into business, a Santa Claus rung his bell as the day went on. People walked in and out of the Manhattan Museum of Art. Dana ran up the stairs. Some time later, Peter Venkman stopped at the guard's station in the museum. He greeted Rudy, the museum guard, and stated he was looking for Dana. Rudy told him to go to Room 304, Restoration. Peter thanked him. Rudy realized he was Dr. Venkman from "World of the Psychic" and Peter perked up. Rudy stood up and shook Peter's hand. He claimed he was a "big, big fan." Peter thanked him for the kind words. Rudy revealed World of the Psychic used to be one of his two favorite shows. Peter was curious what the other one was. Rudy told him it was "Bass Masters" and explained it was a fishing show. Peter noted he knew "Bass Masters" and continued on. Rudy snapped his fingers in delight.

In the Restoration room, the Vigo painting smiled at Dana as she walked by. His expression returned to normal just before she looked up. She was worried. Peter entered the room and found her cleaning a painting. He pulled the easel away and took a look. He complimented her work and her eyes. Dana was wearing magnifying lens. Dana corrected him. She did not paint it, she was just cleaning the Gauguin. Peter pretended he knew the artist. Janosz arrived and asked to be introduced. Dana presented Janosz to Peter and emphasized he was the head of the Restoration department as more of a warning. Instead of shaking Peter's hand, Janosz touched it. Peter looked at Dana and slowly wiped his hand across his sweater. Janosz admitted he saw Peter on TV and enjoyed his exploits. He joked he hoped Peter was not there on business. Peter wiped his hand on his sweater again. Peter quipped his reasons were top-secret. He saw the Vigo painting and went over to it, remarking he had a Gauguin, too.

Janosz informed Peter he was preparing the portrait for the new Romantic exhibition and it was of Prince Vigo, the ruler of Carpathian and Moldavia. Peter imitated Vigo's pose, to Dana's amusement. Janosz went up on the step ladder. Peter remarked Vigo was a bit of a sissy. Janosz stated he was a very powerful magician and a genius in many ways. Dana added he was also a lunatic and a genocidal madman. She hated the painting and felt uncomfortable ever since it came up from storage. Peter theorized she was probably feeling what Vigo was: Carpathian kitten loss. He missed his kitten. Dana smiled while Peter grabbed some paint and pretended to add one by the castle. Janosz stood between Peter and Vigo. He was naturally put off by the suggestion of altering valuable artwork and believed it was time for him to go. He declared the joyfulness was over. Dana tried to tell him Peter was just kidding around. Peter noted he was not going to get a green card with that attitude. Peter walked away and turned to Dana. He jested she was sweet on the hunky stud. Dana admitted every now and then, she got the feeling that painting was watching her and even smiling at her. They noticed Janosz talking to Vigo and gesturing to them. They exchanged looks of concern.

After Peter paid Dana a visit, the Ghostbusters forced their way into the restoration department and ran scans. The restorers looked up at them. Egon held the Giga meter. Ray held a Globuscope. Winston held a KUD meter. Peter instructed everyone to suck in the guts. They inhaled. Janosz immediately told them to leave. Ray asked Peter who that was. Peter sicced Ray on him. Ray engaged Janosz politely, introducing himself, complimenting the work space, and stating they were doing a routine spook check. Peter handed Janosz his coat. Janosz informed Peter that Dana was not present. Peter knew that. Janosz asked why he came. Peter told him they got a report there was a major creep in the area, so they checked their list and he was right on the top. He asked Janosz where in the hell he was from anyway. Janosz replied he came from the Upper West Side. Egon informed Peter the whole room was extremely hot. Winston noticed the Vigo painting and thought he was one ugly dude. Peter snapped photographs like a fashion photographer. Janosz pleaded with Peter to stop and was ignored. Janosz stood in front of the painting and stated no photographs were allowed but slides were available in the gift shop. Winston took him aside. Janosz shrieked.

Peter thanked Winston and continued with taking photographs. He asked Vigo to give him angry like he had a bad day and was cranky. Peter was pleased and became more and more intense. He asked for sexy and mused the girls and the guys liked him. He asked about the animals. Ray stood on the step ladder and took readings. He looked at Vigo's eyes and became transfixed. The eyes turned red, then blue again. Ray stared in a daze. His arm became limp. Peter went overboard and yelled at Vigo to destroy him. Egon interrupted him and wanted to talk. Peter turned to Vigo and told him he worked with better, but not many, and thanked him. Peter took his coat from a distraught Janosz. Winston called out to Ray but got no response. He patted Ray. Ray snapped out of it. Winston asked him if he was finished. Ray confirmed he was. Winston asked him if he was all right. Ray was confused by the question and walked away with Winston. Ray assured him he was fine. After Winston, Egon, and Ray were carried off by the River of Slime, they ended up right in front of the museum. On New Years Eve, Janosz venerated Vigo. Vigo's giant head appeared in the painting and stated, "I, Vigo, the Scourge of Carpathia..." Janosz stood in a circles of candles laid out on the floor. Janosz noted he heard the introduction before. Vigo continued, "--the sorrow of Moldavia..." Janosz got impatient. Vigo commanded him. Janosz asked Vigo to command him. Vigo stated the season of evil began with the birth of an new year. Janosz was pleased. Vigo told him to bring a child so he could live again. Janosz made a pitch for getting to have Dana after he brought Oscar. He touched the flame on one of the candles then quickly pulled back. Vigo obliged him and declared she would be theirs, a wife to Janosz and his new mother. Janosz hopped up and spun around in elation then thanked him. Janosz kidnapped Oscar and brought him to the museum. Dana followed and after she entered, the Psychomagnotheric Slime formed an impenetrable shell around the building.

Dana entered the Restoration room, ran to Oscar, and picked him up from an altar. Ancient symbols were carved on the altar. Dana was so relieved to be reunited with Oscar. Janosz revealed his presence and confessed he knew she would come. Dana warned him to stay away from them. Janosz promised her not to worry about Oscar being harmed. He revealed Oscar was chosen to be the vessel of the spirit of Vigo and she would be the mother of the ruler of the world. He asked if that sounded nice. Dana thought it sounded ludicrous and again warned him to stay away. Dana backed out of the circle of candles. Janosz mused they did not have a choice. He joked the painting in the room was not Gainsborough's "Blue Boy," he was Vigo. Dana refused to give up Oscar. She was telekinetically flung backwards and sealed out of the room, essentially in a prison cell. Oscar floated back to the altar. Dana screamed to Oscar and called Vigo a bastard. The city government tried everything but were unable to make a dent in the shell. Police officers and fire fighters had the area blocked off. Crowds still gathered to see what was going on. Later in the night, Ecto-1a pulled up. The people cheered.The Ghostbusters got out and stared at the slime shell. Ray likened the shell to a giant Jell-O mold. Winston remarked he hated Jell-O. Peter cited the tagline, "There's always room for Jell-O." Egon stared at the shell.

In the Restoration room, Janosz tried to convince Dana to join Vigo's side. He suggested she make the best of their relationship. Dana bluntly stated they had no relationship. Janosz exclaimed he knew that. He told her to marry him and they would raise Vigo as their son. He tried to illustrate the perks of being the mother to a living god like a magnificent apartment, a car, and free parking. Janosz opened the gate and allowed her back into the main space. He mused many marriages started with a certain amount of distance and suggested they could maybe learn to love each other. Dana played along and agreed. She slowly stepped out. The Ghostbusters marched up the the front of the entrance to the Manhattan Museum of Art. Ray told the others to "pull 'em." The Ghostbusters pulled their Particle Throwers out. Egon told everyone to adjust to full neutronas. Ray shouted, "Let's cook!" They opened fire on the shell but it became apparent they were shooting in vain. Ray cued everyone to switch off. The crowds booed and hissed at them.

Egon stated slime mold was pulsing with evil and it would take a tremendous amount of positive energy to crack that shell. He seriously doubted there was enough goodwill left in New York to do it. Ray planted his face on Ecto-1a's hood in frustration then stood back up. He refused to believe there was no way back. He admitted the city was dirty, crowded, polluted, noisy, and full of people who would step on your face but there had to be a few sparks of sweet humanity left, they just had to figure out a way to mobilize it. Egon agreed and added they needed something that everyone could get around. He paused when he saw the Statue of Liberty on the license plate and proposed a symbol. They all started looking downwards. Ray understood, he continued it needed to be something that appealed to the best in each and every person. Egon squatted down and stated it had to be something good. Winston remarked it had to be something decent. Peter suggested it had to be something pure. The camera POV shifted down to Ecto-1a's license plate. It featured an image of the Statue of Liberty. The Ghostbusters animated the Statue of Liberty and marched from Liberty Island to the museum. It raised its torch and smashed through the ceiling. Janosz was still confident in Vigo and ordered them to go away. Peter wished him a Happy New Year. Janosz proclaimed they were like the buzzing of flies to Vigo. He realized Vigo was absent from the painting. He was without words. Peter informed him he backed the wrong horse and cued Ray and Winston. They thoroughly slimed Janosz. He eventually slipped, fell, and passed out. Dana came over to them. She kissed Peter. Peter hugged them then greeted Oscar. Dana asked if Janosz was dead. Ray informed her their slime was positively charged and Janosz was going to wake up feeling like a million bucks. Peter noted Oscar was "a little bit ripe" and joked he thought he had an accident, too.

The Restoration room's atmosphere turned eerie. A draft blew through. Egon checked his Sound Level Meter. A fixture suddenly crashed behind Egon and a black hose wrapped around Dana. The Ghostbusters went to her but she yelled to them to get Oscar away. Ray wanted to get a knife to cut Dana out. Peter took Oscar behind some boards and placed a blanket on the floor for him to rest on. He told Oscar to stay put and be quiet while he helped his mom. Vigo fully manifested in the room. As he walked, there were after-images behind him. Egon saw him first. Ray ordered Vigo to hold it and called him a deadhead. He advised to go ahead and knock up some willing hellhound if he wanted a baby. Otherwise he had three seconds to get back in the painting. Ray started the count with one second. Peter stood up from his position with his particle thrower already drawn and counted two seconds. Ray counted three seconds. Peter and Egon fired on Vigo. Vigo winced. Ray was pleased they got him. Vigo snarled, threw out his arms, broke the streams, unleashed a pulse of energy, and the Ghostbusters fell to the ground and were immobilized.

Winston remarked that was a really stupid plan. Egon asked Ray if he could move. Ray confirmed he could not then asked Egon if he could. Egon stated he could not then asked Peter how he was. Peter joked he was fine. Vigo found Oscar's location and used telekinesis to move the boards aside like a sliding door. He smiled. Dana was scared and implored the Ghostbusters to do something. Peter decided to heckle Vigo. He told Vigo not so fast. Vigo gave him a look. Peter confirmed he was talking to him, the bimbo with the baby, then asked him if anyone told him the big shoulder look was out. Peter admitted he had met some dumb blondes in his life, but Vigo took the taco. He stated only a Carpathian would come back to life now and choose New York then called him a bonehead over his 'tasty pick.' Peter declared if he had a brain in that huge melon on top of his neck, he would be living the sweet life out in Southern California's beautiful San Fernando Valley. Vigo fired energy rays from his mouth at the Ghostbusters. They were covered in the rays and convulsed in pain. Peter winced and exclaimed, "Oh darn it. Oh, darn it!" Vigo raised Oscar in his arms. Oscar cried. Vigo proclaimed now they become one. "Auld Lang Syne" could be heard from the opening in the skylight. Ray asked where that singing was coming from. Winston deduced it was the people gathered outside. Vigo recoiled in pain. The crowds of people outside the Manhattan Museum of Art celebrated New Years together. The singing of bystanders outside severely weakened Vigo and allowed the guys the chance to neutralize him. Louis Tully passed through the crowd and made his way to the front. The Statue of Liberty was on its back on the street. Louis was amazed by sight of the slime shell and whispered, "I'm here with you guys." Louis readied his Particle Thrower.

Egon observed Vigo was weakening because the positivity of the singing was neutralizing the slime. Ray realized he could move. Peter scooted forward. Dana called out to Oscar. Vigo was forcibly propelled back into the painting. Peter caught Oscar just in time. Dana was relieved. The Ghostbusters stood up. Egon sighted Vigo in the painting. Peter returned Oscar to Dana and told her to go find a shady spot. Ray turned towards the painting and locked eyes with Vigo. Peter taunted Vigo with, "Vigi, Vigi, Vigi. You have been a bad monkey!" Ray suddenly walked up to the painting and stared at it. Egon told Egon they would like to shoot Vigo and asked him to move. He got no response. Peter called out to Ray. Nothing. Winston called out. Nothing. All three yelled at Ray. Ray turned around to reveal he was possessed by Vigo and transmogrified to resemble his true ghost form. Vigo proclaimed he shall rule the earth and told the Ghostbusters to be gone, calling them pitiful half-men. Peter cued the. Peter and Egon fired at the painting. Winston slimed Ray. At the same time by coincidence, Louis fired upon the slime shell. Ray dropped to the ground as Vigo was ejected out of his body and back into the painting in his giant floating head form. They continued to fire on him. Vigo was drenched in the positively charged psychomagnotheric ectoplasm. Vigo shouted, "No!" He was sent spiraling further into the painting until there was an explosion and a bright white light enveloped the canvas. The slime shell disintegrated and shot up into the sky. The people cheered. Several congratulated Louis. Louis shouted he did it and declared he was a Ghostbuster.

Egon and Winston took the Slime Blower off Ray and helped him up. Winston asked Ray if he was all right. Egon implored him to get up. Winston guided Ray. Ray replied he felt groovy. Peter asked Dana if she was all right. Dana thanked him. Peter addressed Oscar and told him to spread out. Peter and Dana kissed. Ray told Egon and Winston he loved them. Egon told him "great." Ray continued and stated he loved Peter and was enamored with their real friendship. Winston asked Egon if they had to live this. Janosz lied in a puddle of Psychomagnotheric ectoplasm singing. Just as he sang, "They will come from behind," Ray stepped on some slime near him, making a gush sound, and getting Janosz's attention. Ray helped him up. Egon asked him if he was all right. Janosz asked why he was drippings with goo. Egon explained he had a violent prolonged transformative psychic episode. Janosz had no idea what Egon just said. Ray "translated" for Egon and told him they had to hose him down because he was kind of out of control. Ray then told Janosz he loved him. Janosz reciprocated and they hugged. Winston took a look at the painting and called everyone over. Ray was amazed. Egon speculated it was Early Renaissance, Raphael or Piero della Francesca. Peter joked it was one of the Fettucine's. The point of view shifted to behind the Ghostbusters and Dana. The painting now portrayed Peter, Ray, Winston, and Egon in classic robes standing around a cherub that looked like Oscar. The Ghostbusters, without their packs, Dana with Oscar, and Louis walked down the steps of the museum to the cheering crowd. The crowd chanted "Ghostbusters" over and over. They continued walking down to the crowd. Mayor Lenny stood on the steps are raised his arms up.

Secondary Canon History

IDW Comics

While on route to a haunted apartment complex, Peter and Winston passed by the Manhattan Museum of Art.

Employees

Current Employees

Former Employees

Real Life Locations

The name of the Museum in real life is "National Museum of the American Indian" from U.S. Custom House, Bowling Green, Manhattan, New York.

Behind the Scenes

The scene where Egon, Ray, and Winston emerge from the river of slime outside the Manhattan Museum of Art was shot in New York in the street at 2 am in 10-degree weather. The actors were dumped with bucket upon bucket of slime and then filmed for many hours without the benefit of heaters. The script called for the actors to emerge from a manhole with smoke rising around them. It was difficult for them to climb out of this manhole due to the proximity of phone conduit. None of the actors complained out loud. Ernie Hudson did at one point ask Dan Aykroyd and Harold Ramis what they were thinking when they wrote the scene.[2] 11 takes were done of Egon, Ray, and Winston climbing from the sewers. The scene had to filmed again because a camera motor was running off speed. When they were told that they would have to film the scene again, the actors thought it was a joke. The scene was filmed again the next night.[3]

A full scale replica of part of the museum was constructed inside a sound stage in Burbank Studios. In order to have the slime ooze from the mortar joints, above the doors, and all over the exterior, Chuck Gaspar and crew cut slits in the walls, over the doors, and so on then attached hoses connected to tanks that held 8000 gallons of slime. 40 people were needed to operate the tank, hoses, and valves. Another tank caught the run off and it was pumped back into the other tank. A week and a half was spent to rig this set. The wall of slime that enveloped the museum was filmed twice.[4] The wall of slime that enveloped the museum was filmed twice.[5] In the first take, the slime was too thin and not wide enough. A thicker slime mixture was employed for the successful second take but five cameras were struck with slime during filming.[6]

Floating Oscar in the museum took some doing. Chuck Gaspar's crew made a piece of sheet metal hidden in the baby's suit and suspended on four wires attached to an overhead rig. To prevent the baby from moving, the metal pan was attached to the suit with velcro.[7] When Oscar was floating across the room, Gaspar pulled the rig by rope. When Oscar was lined up to the altar, a radio-controlled servo controlled by Jay Halsey while Gaspar pulled the rope on a straight path.

Mayor Lenny was in a scene that involved ghosts "bleeding" through walls. David Margulies filmed outside the U.S. Customs House in New York with 400 to 500 extras and the ILM crew on set.[8] Four weeks before Ghostbusters II was released in theaters, ILM was unable to complete the scene involving ghosts pouring out of the Alexander Hamilton U.S. Custom House. As a replacement for this scene, a new scene was shot - Mayor Lenny tells his staff about a discussion he had with the ghost of Fiorello La Guardia.[9]

The shot of the Statue of Liberty breaching the slime shell was a combination of the restoration room interior set at the Burbank Studios in Los Angeles, compositing in Jim Fye as the Statue of Liberty at ILM, the crown gimbal at Burbank Studios, and the exterior outside the Alexander Hamilton U.S. Custom House at 1 Bowling Green in New York City. For the part when the Statue of Liberty strikes the skylight, Chuck Gaspar and his team threw debris, breakaway glass and foam beams down from the top of the set.[10] Foolproof safety rigs were used for the stunt scene of the Ghostbusters rappelling down into the restoration room.[11]

Trivia

  • In the August 5, 1988 draft of Ghostbusters II, the museum used was the Metropolitan Museum of Art and it played a smaller role in the story.[12]
  • In the September 29, 1988 draft:
    • On page 21 to 23, the Metropolitan Museum of Art has just closed and the last of the visitors and employees are leaving. Jason Locke, the precursor to Janosz Poha, continues work on Vigo while Rudy the Museum Guard does his rounds. He reminds Jason to sign out when he leaves. Jason is mesmerized by Vigo. Vigo says a variant of his 'what was will be, what is will be no more' line and tells Jason to present the child. Jason states there is no child. Bolts of red hot energy shoot out from Vigo's eyes into Jason's eyes. Rudy sees him run out the museum. Rudy remarks he knew he would forget to sign out.
    • On page 59, Rudy lets Peter into the museum early next morning to talk to Lane and the Slime in Bathtub Attack. Mikey, the precursor to Oscar, is near her in an infant seat.
      • In the movie, the bathtub attack happens after Peter's visit to the museum.
    • On page 60, Peter notices the Vigo painting then tells her she can stay over at his place. Vigo's head turns. Peter maintains things will be strictly professional.
    • On page 61, Peter attempts to cheer Lane up and fools around with her tools. He thinks the Van Meer she is restoring needs more yellow. There is a moment when she grabs his hand. Jason arrives, slightly winded as if he was summoned by Vigo.
      • In the movie, Peter looks at her Gauguin painting thinks Dana is really good then she informs him she's just cleaning.
    • On page 62, Peter meets Jason Locke. Jason notes he has seen him on television and the Vigo is a self-portrait.
      • In the movie, most of Jason's lines are preserved but Janosza's broken English is added.
    • On page 63, Peter remarks Vigo could have smiled for his portrait and suggests he needs a 'Mona Lisa job' but Jason tells him you don't go around altering valuable paintings. After Peter leaves, Jason offers to help babysit Mikey.
      • In the movie, Peter calls it 'Carpathian Kitten Loss' and it ends on Peter and Dana watching Janosz talk to the Vigo painting.
      • In the movie, Rudy is omitted from the scene and Vigo's speech is much shorter. Janosz repeats "Child" before he's blasted in his eyes.
  • In the November 27, 1988 draft:
    • On page 28 to 29, the Manhattan Museum of Art has just closed and the last of the visitors and employees are leaving. Janosz continues work on Vigo while Rudy the Museum Guard does his rounds. He reminds Janosz to sign out when he leaves. A current from Vigo shocks Janosz then Vigo introduces himself with a longer speech where he says "twenty thousand corpses swing from my walls and parapets and the rivers ran with tears" and "by the power of the Book of Gombotz, what was will be, what is will be no more. Past and future, now and ever, my time is near." Janosz is blasted again but directly into his eyes and he screams and falls to the floor. Rudy sees him run out the museum. Rudy remarks he knew he would forget to sign out.
    • On page 54, Rudy is reading a National Enquirer featuring "Ghostbusters Save Judge."
    • On page 55, Dana tells Peter she's restoring an original Ver Meer worth $10 million. Peter jokes should knock off early and let him chase her around in the park. Peter suggests $45 paintings from Art World.
      • In the movie, Dana is restoring a Gauguin. Peter doesn't talk about cheap art or the case.
    • On page 56, Peter tells Dana they think the river of slime might be connected to her carriage moving on its own. He is introduced to Janosz. Peter jokes hes not trying to unload all his Picassos.
      • In the February 27, 1989 Draft, this part is no longer present.
    • On page 57, Janosz says the Vigo painting is for the new Byzantine exhibition and it is a self-portrait, boasting he was a skilled painter. Peter jokes it's not something you'd want to hang in the rec room and reckons it needs a fluffy little white kitten in the corner. Janosz grabs his arm. Peter advises him to make an exception. Dana looks at him with disapproval.
    • In the movie, Janosz says it is for a new Romantic exhibition. Peter jokes Vigo has Carpathian kitten loss. The rest is omitted.
    • On page 58, Peter teases her she has a crush on Janosz. Dana calls him a very sick man.
      • In the February 27, 1989 Draft, Dana just tells Peter good-bye. Peter says he would like to stay but he doesn't have time to hang around.
    • On page 74, Rudy tells the Ghostbusters that Janosz said not to let them in anymore. Ray tells him the museum has an Ecto-paritic subfusionary flux in the building. Rudy is scared and follows his instructions to take cover.
    • On page 75, Ray uses the Giga Meter.
    • On page 76, Peter talks to Vigo but gets no response so he takes photographs. Winston's "That's one ugly dude" line jolts Ray out of his trance.
  • In the February 27, 1989 draft:
    • On page 76, Janosz tries to cover things up as chemical fumes. Peter talks to Vigo but gets no response so he takes photographs.
  • The exterior scenes, lobby scene with Rudy, and the deleted Egon scene seen at the end of Ghostbusters II was filmed at the Alexander Hamilton U.S. Custom House at 1 Bowling Green in Lower Manhattan but the restoration room scenes were filmed on a sound stage at The Burbank Studios in Los Angeles.
  • The Manhattan Museum of Art restoration room set had to be rebuilt for some reshoots.[13]
  • The exterior banners advertise an exhibit of art by Edgar Degas. Degas was a 19th century French artist credited with having a part in founding Impressionism but preferred to be called a Realist.
  • The montage scene where the Ghostbusters exit a home entertainment store in Santa Claus hats was filmed across the street from the Custom House.[14]
  • Rudy is reading a Star magazine featuring "Ghostbusters Save Mayor" and "Team of Venkman Stantz & Spengler in heroic deed."[15][16]
    • The photo of the trio is from a promo shot taken during production of the first movie in New York at 696 Madison Avenue which became the Ectomobile Rejects A Parking Ticket deleted scene.
    • For unknown reasons, the second Star magazine prop with the title "Ghostbusters Save Judge" was not used in this scene.
  • Rudy mentions Restoration is Room 304 at the Manhattan Museum of Art.
  • The Gauguin Dana was cleaning was the Still Life with onions, beet root and Japanese print.
  • A sculpture was made of the slime shell scripted to envelop the museum. The sculpture was made of clay, then a plaster mold was done and it was vacuformed in clear plastic. A piece of plexiglass was placed on the back of the vacuform shape. It was mounted in a large metal frame and crew placed tubes, injectors, and bubble makers inside. The crew filled it with water and injected diamond dust, a fine metal powder. The slime shell was shot at high speed with bubbles going in to create water currents. During each take, cameraman Marty Rosenberg would cue people to inject different colors into the tank. Two complete takes were done before the colors mixed together and the tank had to be drained and refilled.[17]
  • In the original trailer for the movie, at the 1:27 mark, Ray Stantz tells the Mayor if they don't do anything about the situation, the Mayor will go down in history as the man who let New York sink into the tenth level of hell.[18] In the final version, the Mayor says it in a meeting with his advisers in a previous scene. This scene from the trailer can be seen in the "Peter's Concern" deleted scene.
  • As of September 23, 1988, during storyboards, Henry Mayo and Tim Lawrence illustrated concept art in which Vigo's spectral essence was strong enough to animate the exhibits he walked by in the art museum.[19]
  • On Cover B of Transformers/Ghostbusters Issue #5, a billboard on the right references the Manhattan Museum of Art.

Appearances

Primary Canon

Secondary Canon


References

  1. Egon Spengler (1999). Ghostbusters II, Chapter 20: Kidnapping Oscar (1989) (DVD ts. 1:16:12-1:16:19). Columbia Pictures. Egon Spengler says: "As I explained before, we think the spirit of a 17th century Moldavian tyrant is alive and well in a painting at the Manhattan Museum of Art."
  2. Eisenberg, Adam (November 1989). Ghostbusters Revisited, Cinefex magazine #40, page 28. Cinefex, USA. Ernie Hudson says: "We shot that scene in New York out on the street at two in the morning. I don't know how cold it was, but it couldn't have been more than ten degrees--and with the wind whipping around, we were all freezing. And we were drenched. They poured buckets and buckets of sticky, watery slime over us--over our heads, over everywhere because Ivan wanted it even in our eyes. He wanted us to look like we had been swimming in slime. Then we had to pull off our jumpsuits--which weren't really warm enough for a New York winter to begin with--and stand there in our underwear. I don't think I've ever been so cold in my life. We shot for hours and we couldn't go into the trailers because they were too far away. So we had to sit outside between takes without the luxury of heaters. Danny was there and Harold was there and they weren't complaining, so I figured I shouldn't either. But things did get a little nuts, and at one point I had to ask them: 'Wait a minute. You guys wrote this scene? What the hell were you doing? Didn't you think you were going to have to do this stuff?"
  3. Eisenberg, Adam (November 1989). Ghostbusters Revisited, Cinefex magazine #40, page 28. Cinefex, USA. Harold Ramis says: "When we wrote the scene, I thought they would find a manhole and then we would go down a ladder and come up. Well, in front of the customs house that doubled for our museum, there was only a closed box underground for a phone conduit, and it was filled with big phone connectors. We had to wedge ourselves in like contortionists. Before we got into the hole, the effects guys would cover us with slime. Then they would smoke up the hole and put the manhole cover on it. I kept saying it was as close to being trapped in a mine or cave-in or the American earthquake as you could imagine. It was pretty awful and it was just freezing. But that really was not the worst of it. We did eleven takes, and then the next morning Ivan came to us and said the camera motor had run off speed and we had to do the scene again. At first we thought he was kidding. I mean, doing it once was the worst experience of my life. We thought, 'Great joke.' Unfortunately, it was no joke and the next night we did the whole thing all over again."
  4. Eisenberg, Adam (November 1989). Ghostbusters Revisited, Cinefex magazine #40, page 33. Cinefex, USA. Line reads: "For dramatic closeups, a full-scale replica of part of the museum was constructed inside a soundstage at the Burbank Studios."
  5. Eisenberg, Adam (November 1989). Ghostbusters Revisited, Cinefex magazine #40, page 33. Cinefex, USA. Chuck Gaspar says: "Ivan wanted the slime to really ooze out of the mortar joints, from above the doors and all over the building exterior. So we cut slits in the walls over the doors and so on, and then attached hoses to the slits and controlled them with valves. The hoses were connected to eleven dump tanks that held a total of eight thousand gallons of slime. There were so many hoses that we needed forty people to operate them all. In front of the set we had another tank to catch the run-off, which later we pumped back out with a vacuum truck. All together, it took about a week-and-a-half to rig the set."
  6. Eisenberg, Adam (November 1989). Ghostbusters Revisited, Cinefex magazine #40, pages 33-34. Cinefex, USA. Line reads: "The slime wall had to be filmed twice. The first time the slime was too thin and the set was not quite wide enough for the effect Reitman wanted. For the second take, the set was extended and Gaspar ordered a thicker mixture. The retake was much more successful, though some of the hoses squirted out so far that slime actually struck one of the five cameras recording the event."
  7. Eisenberg, Adam (November 1989). Ghostbusters Revisited, Cinefex magazine #40, page 34. Cinefex, USA. Line reads: "An invisible force rips Oscar from her hands--then floats him across the room to his former spot in front of the painting. "Floating that little baby was a bit hair-raising," Gaspar admitted. "I don't mind floating a grownup, because it they fall, at least they can protect themselves. But a baby doesn't know how to do that. The gag worried me, but we did it in such a way that the baby could possibly get out of the harness. The unit we made was a piece of sheet metal hidden inside his suit and suspended on four wire attached to an overhead rig. The metal pan was attached to the suit with velcro so there was no way the baby could move. It was so tight, in fact, that at one point the baby started fussing and we had to loosen the velcro a little bit. Even so, he could not roll off the pan because it was inside his suit. During the takes, we had everybody standing around watching pretty closely, and as soon as the baby traveled from point A to point B there were people right there to grab him. Once again, the baby was amazing. He never cried or did anything." The master shot of the action required three moves--a pull-through where the baby floated in a straight line across the room toward the Vigo painting, a turn to line him up with the altar and then a set-down where the baby was lowered slowly onto its surface. "For the straight pull-through across the room, the rig was controlled by a rope that I pulled myself because I was kind of nervous. The turn was so delicate that to make it nice and smooth we did it with a radio-controlled servo. For that move, I once again brought in Jay Halsey. At the beginning of the shot, I just pulled the rope and walked the baby along the straight path. When we got to the point where he had to turn, Jay radio-controlled the move. Then we simply lowered the baby down onto the podium." For additional close-ups where the wires would have been visible, the metal pan was concealed under the baby's suit. Depending on the angle, the pole was either held by hand or placed on a cart underneath the camera."
  8. Wallace, Daniel (2015). Ghostbusters The Ultimate Visual History, p. 169. Insight Editions, San Rafael CA USA, ISBN 9781608875108. David Margulies says: "Right outside the old Customs House in New York, they had maybe four hundred, five hundred extras. It was a tremendous number, and what was happening was that supposedly ghosts were bleeding through the walls. They had all the industrial Light & Magic people-all of whom looked like young painters out of art school-and everyone was doing specifications. The scene really filmed well, it was a terrific, big scene."
  9. Cross the Streams Episode 40, 30:40 to 32:56, 5/20/14 David Margulies says: "And then once the filming started, there was a big shot when they started filming, of what is now the Museum of the American Indian. It was the old Custom House. It's just below Bowling Green in Manhattan. It's a fantastic building and all of the George Lucas people were around, whatever they were called. Industrial... Light & Magic. Right. All of them looked like painters. They were all college graduates who were art students. So they looked like Paris in the 20s. They were planning that people were going to go--ghosts were going to come through the building. Which was one of those massive stone buildings built in the 19th century, I mean amazing, you couldn't bring it down, you know, and I arrived there in this wonderful, cozy limo and, you know, they had maybe a thousand extras. It was an amazing scene. But then four weeks before it was released, it was being released to the summer, uh, it was a summer blockbuster, um, they found that Industrial Light & Magic could not make the ghosts convincingly go through the walls of the building. They were a month away so I got a call and we went out and shot a scene that was a substitute where I had a-I was talking to Fiorello La Guardia or something but it was by that time on Ghostbusters II, it was clear the atmosphere had soured."
  10. Eisenberg, Adam (November 1989). Ghostbusters Revisited, Cinefex magazine #40, page 44. Cinefex, USA. Line reads: "To help create the illusion that the Ghostbusters were crashing through the skylight, Chuck Gaspar and his crew threw debris, breakaway glass and foam beams down from the top of the set as the actors slid down their ropes and landed firmly on the floor."
  11. Eisenberg, Adam (November 1989). Ghostbusters Revisited, Cinefex magazine #40, page 44. Cinefex, USA. Harold Ramis says: "I kept sliding down from the top of the stage--about seventy feet. Of course, they had us on safety rigs. We were not using rappelling rigs. They were the kind that rescue teams use to lower injured people from high places or to lower nonprofessionals off ski lifts or high mountain ridges. So it was foolproof--there was no way we could get hurt. We could be unconscious and be lowered down one of those rigs. So I got a lot of confidence and I went back to do it over several times. Whenever I went up to the top of the stage, a stuntman went with me to make sure I was hooking the harness securely."
  12. Aykroyd, Dan & Ramis, Harold (1988). Ghostbusters II (August 5, 1988 Draft) (Script p. 2). Paragraph reads: "The broad front steps are crowded with VISITORS to the museum. SUPER: Metropolitan Museum of Art - 1956."
  13. Joe Medjuck (2019). Ghostbusters II- Commentary (2019) (Blu-ray ts. 42:48-42:56). Sony Home Entertainment. Joe Medjuck says: "This was all a set. I think--'Cause we had to rebuild it at one point, I remember, when we did some reshoots, but we kept it all."
  14. Spook Central NY Customs
  15. Ghostbusters International "Indianapolis Children's Museum Exhibit" 2/1/2015
  16. Rob Zetzer imgur "Bill Murray's proton pack from Ghostbusters 2" 1/31/2015
  17. Eisenberg, Adam (November 1989). Ghostbusters Revisited, Cinefex magazine #40, page 34. Cinefex, USA. Bill George says: "To create the slime shell, we first did a sculpture out of clay, made a plaster mold and had it vacuformed in clear plastic. Then we put a piece of plexiglass on the back of the vacuform shape, which effectively made it a clear tank shaped like the slime shell. We mounted this in a large metal frame and placed tubes, injectors and bubble makers inside. Next, we filled the whole thing with water and injected diamond dust--a fine metal powder we first used on Innerspace. The slime shell was shot high-speed with bubbles going in it to create water currents. During each take, cameraman Marty Rosenberg would cue different people to inject different colors into the tank. We could do two complete takes before the colors mixed together so much that we had to drain the tank and refill it again. The tubes with different colored dyes in them were placed all over the inside, so we were able to inject colors selectively. The effect looked pretty neat, and it gave the slime shell the look of life and purpose that was needed."
  18. Ghostbusters YouTube "GHOSTBUSTERS II - Original Trailer (1989)" 6/16/2020
  19. Wallace, Daniel (2015). Ghostbusters The Ultimate Visual History, p. 136. Insight Editions, San Rafael CA USA, ISBN 9781608875108. Line reads: "A storyboard for an early Ghostbusters II concept by Henry Mayo in which Vigo's spectral essence is sufficient to animate the art museum's exhibits."
  20. Narrator (2016). Insight Editions- "Tobin's Spirit Guide" (2016) (Book p.64). Paragraph reads: "Vigo's spirit lay dormant for centuries in an imposing portrait kept at the Manhattan Museum of Art."


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