Michael C. Gross was an Associate Producer on Ghostbusters and Executive Producer on The Real Ghostbusters and Ghostbusters II. The art direction and final design of the no-ghost sign was done by Michael Gross with help from Brent Boates. He was a well known artist. He is not to be confused with the actor from "Family Ties."
- Ghostbusters - Associate Producer
- - Designer of the No-Ghost Sign
- The Real Ghostbusters - Executive Producer to all 140 episodes
- - Commentator on The Real Ghostbusters Dvd Box Set
- Slimer! - Executive Producer to all 33 episodes
- - Writer to episode Monkey See, Monkey Don't
- Ghostbusters II - Executive Producer
- Heavy Metal - Associate Producer (1981)
- Legal Eagles - Executive Producer (1986)
- Kindergarten Cop - Executive Producer (1990)
- Beethoven - Producer (1992)
- Beethoven's 2nd - Producer (1993)
- Michael Gross appears on Time magazine's corner flap during the first montage in Ghostbusters. 
- Joe Medjuck and Michael Gross were very involved in The Real Ghostbusters and took the show quite seriously. They read every script and tried to make sure that nothing was going to embarrass anyone. They were so involved that they almost got the show canceled because they wouldn't do certain things that ABC wanted done. It drove the other producers crazy because Medjuck and Gross wanted some stuff on the air that they didn't want unless they liked it. 
- Michael Gross's son Dylan Gross worked as a camera loader on Ghostbusters II. It was one of his first gigs and he currently works on movies and television as an aerial director of photography.
- On page 15 of Ghostbusters Volume 2 Issue #13, Oscar's principal is listed as Mr. Gross, a possible nod to Michael Gross
- On page 20 of Ghostbusters International #1, in panel 2, framed on the wall is the "We'll Kill This Dog" cover of National Lampoon's January 1973 issue, designed by Gross.
- In Ghostbusters International #2, on page 1, in panel 2 and 3, once again framed on the wall is the "We'll Kill This Dog" cover of National Lampoon's January 1973 issue, designed by the late Michael Gross.
- Michael C. Gross (2009). Ghostbusters- Slimer Mode (2009) (Blu-Ray ts. 01:20:54-01:21:04). Columbia TriStar Home Video. Michael Gross says: "The no-ghost logo was in Danny Aykroyd's original script. I take credit as having art directed and designed the original logo but I did not conceive it."
- Joe Medjuck (1999). Ghostbusters- Commentary (1999) (DVD ts. 37:59-38:04). Columbia TriStar Home Video. Joe Medjuck says: "And then, I think, Mike Gross redesigned a little bit of shape of the ghost. But the basic idea was always--"
- Michael Gross (2019). Cleanin' Up The Town: Remembering Ghostbusters (2019) (Blu-Ray ts. 32:28-32:29). Bueno Productions. Michael Gross says: "I went to the one I knew the best."
- Richard Edlund (2019). Cleanin' Up The Town: Remembering Ghostbusters (2019) (Blu-Ray ts. 32:30-32:32). Bueno Productions. Richard Edlund says: "Brent Boates designed the logo."
- Shay, Don (November 1985). Making Ghostbusters, p. 92. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "Time's characteristic corner flap bears the image of associate producer Michael Gross, while U.S.A. Today's golf victor is Michael McWillie -- a designer hired to produce the bogus covers (Time title and format by permission of the publisher, Time, Inc.)."
- Beyond the Marquee Joe Medjuck Interview 9/15/14
- Ghostbusters HQ "CLASSIC GBHQ: Interview with Dylan Gross" 3/12/2015 (originally posted in 2000) Dylan Gross says: "At the time, my job was pretty lowly. A couple of factors were there - first, there was quite a bit of responsibility in even the lowest camera department job, typically loading and unloading the film into the camera magazines. On any movie, the handling of the film takes a special importance - rightfully so - all of the days work is trusted at one moment to the person handling it. Second, the guys in the camera department wanted to send a message that I was very lucky to have gotten into the camera department so easily. Most, if not all of them, paid many more dues before they were allowed membership. So, for the first week, I wasn't even allowed on the set. They kept me on the camera truck, where all of the equipment was, building wooden shelves for the camera cases. I was finally allowed to hook up the video monitors that show what the film cameras were shooting (video assist). On today's sets, that is a separate job from the camera department, but being relatively new, the monitors and equipment were left for the camera crew to deal with. Most of my days were spent wiping Ghostbusters Slime off of piles of tangled fifty foot video cables."