20 Things You Might Not Know About Ghostbusters


As Paul Feig's reboot of Ivan Reitman's classic sci-fi-horror-comedy readies to hit theaters, we're looking back at the film that started it all.


Dan Aykroyd grew up surrounded by spiritualists. His great-grandfather, Samuel A. Aykroyd, was a noted nineteenth century psychic investigator who conducted séances at the Aykroyd family farmhouse in eastern Ontario with a medium named Walter Ashurst. This predilection for the paranormal was passed down to Aykroyd’s grandfather, Maurice, who was an engineer for the Bell Telephone Company. Maurice allegedly tried to use his know-how to create a high-vibration crystal radio that could contact the spirit world. Dan's father, Peter, kept a sizeable library of books about spooky subjects (including his great grandfather’s séances), which kept ghosts and ghouls in the back of young Aykroyd’s mind. After he left Saturday Night Live in 1979, he read an article about parapsychology in an American Society of Psychical Research publication, which inspired Ghostbusters.


Aykroyd found comedic inspiration in films like Bob Hope's The Ghost Breakers, the horror-comedies of Abbott and Costello, and Bowery Boys fare like Spook Busters and Ghost Chasers. He went wild writing his original script, which took place in the future and had a much darker tone. The actors he had in mind for the three main protagonists were himself, John Belushi, and Eddie Murphy. His concept involved dozens of Ghostbuster groups fighting specters across time and different dimensions. The now-iconic Stay Puft Marshmallow Man—which is in the climax of the finished film—appeared much earlier (on page 20) and was one of 50 large-scale monsters that the Ghostbusters would do battle with. Eventual director Ivan Reitman estimated that the first script would have cost up to $300 million to produce—and that was in 1984.


Part of the reason Aykroyd had to recontextualize and rethink his idea—other than its implausible potential budget—was the tragic death of his fellow former SNL castmate John Belushi, whom he envisioned as the sarcastic Peter Venkman. The role was later immortalized by Bill Murray, another SNL alum, but the writers still wanted to honor Belushi by somehow involving him in the movie. When it came time to think up the design for the first ghost the group is commissioned to bust, Aykroyd conceived of a gross-looking, gluttonous, party-guy persona for the apparition as an ironic homage to his friend Belushi. The ghost made it to the screen and was later christened “Slimer.”


Once Aykroyd nailed down the general concept and the narrative of the film (but before he'd penned the final draft), he brought on Ivan Reitman, not only to direct, but also to sell the movie to a major motion picture studio. Reitman had previously directed the popular Bill Murray comedies Meatballs and Stripes—both of which had been co-written by another eventual Ghostbuster, Harold Ramis. Since Reitman had a relationship with Columbia Pictures (which produced Stripes), he approached pragmatic studio head Frank Price with Aykroyd’s outrageous one-sentence pitch—“Ghost janitors in New York”in May 1983. While admittedly skeptical, Price was attracted to the project because the tripartite of comedy geniuses who had agreed to play the leads: Aykroyd, Murray, and Ramis.

Price asked Reitman just how much the outrageous-sounding movie would cost, and the director allegedly threw out a random guesstimate of $30 million. Price agreed on the budget and the movie with one stipulation—that it must have a firm release in June 1984, in time for the summer season. This was no small detail, considering this gave them only 12 months to finish the script, shoot the film, and create and finish the special effects. The rushed production schedule immediately forced Aykroyd, Ramis, and Reitman to retreat to rented houses on Martha’s Vineyard for a marathon three-week writing session to complete the final shooting script. Afterward, they immediately began prepping the shoot and scouting locations.


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Despite the fact that the film began production with its three leads already cast, Reitman needed the right actress for another vital part of the film. For the role of Venkman’s headstrong love interest, Dana Barrett, Reitman chose Sigourney Weaver. She was eager to do a comedy after her amazing performance as Ripley in Ridley Scott’s Alien, so she tried something altogether different for her audition. She offered up a wordless scene where she turned into one of the grotesque dogs that do Gozer’s bidding, an act that allegedly involved writhing across the casting couch and loudly snarling at Reitman. The director was impressed—if not a little scared—and she got the part.


For the loveable loser-turned whacked-out demon “Keymaster of Gozer” Louis Tully, Aykroyd thought of actor John Candy. The Canadian comedian had previously worked with him in 1941 and The Blues Brothers; with Reitman, Ramis, and Murray in Stripes; and for Ramis again in National Lampoon’s Vacation. But Candy envisioned Louis as a stern German man with a thick accent who kept dozens of dogs in his apartment. He also wanted the character rewritten and made into a starring role. Filmmakers preferred the original character that Aykroyd and Reitman had developed, so they gave the role to another member of the Second City troupe, Rick Moranis. The soft-spoken, bespectacled comic brought his own brand of misfit comedy and improv styles to the now-classic character—and he also provided his own wardrobe.


When trying to come up with the perfect name for his character—who was the brains of the Ghostbusters—co-writer Harold Ramis combined both personal and academic inspirations. “Egon” was the first name of Egon Donsbeck, a Hungarian exchange student at Stephen K. Hayt Elementary School who was Ramis' classmate when he grew up in Chicago. “Spengler” came from German historian and philosopher Oswald Spengler. For the "look" of his character, Ramis copied the style of an unknown guy he'd seen on the cover of an abstract architectural journal. He thought the man’s old three-piece tweed suit, wire-rim glasses, and puffed-up hair were perfect for his geeky parapsychologist.


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Come to New York and you can visit some key Ghostbusters locations. The exterior of the fully functioning FDNY Hook & Ladder #8 building at 14 North Moore Street in TriBeCa served as the Ghostbusters’ base of operations—definitely not a “demilitarized zone,” as Egon said. The building at 55 Central Park West housed the apartments of Dana Barrett and Louis Tully. The main branch of the New York Public Library at Fifth Avenue and 42nd Street is recognizable for the lions guarding its entrance, and Columbia University’s Havemeyer Hall served as the Weaver Hall Department of Psychology building that the guys are kicked out of at the beginning of the movie. Then there’s the legendary restaurant Tavern on the Green, where Louis was attacked by one of Gozer’s dogs.

But none of these places appear exactly as they do onscreen. The interior of the Ghostbusters' firehouse was actually an abandoned fire station in Los Angeles, and the rooftop temple scenes at Dana’s apartment were filmed at a huge set built on Stage 16 at Columbia Pictures (large-scale matte paintings were used for long shots). The early library scene where Egon is introduced was in fact filmed at the New York Public Library, but the scene where the three Ghostbusters come across the old librarian ghost in the stacks was actually shot across the country at the Los Angeles Public Library. Similarly, the Sedgewick Hotel—where the guys bust Slimer—wasn’t in New York at all; the exterior and interior shots were taken at the Millennium Biltmore Hotel in Los Angeles.


Out of the handful of iconic details from Ghostbusters is the Ectomobile, a 1959 Cadillac ambulance outfitted with gadgets and gizmos to help the guys bag pesky poltergeists. In a typical movie production, several similarly-adorned vehicles are used for stylistic and insurance purposes. (The production of Back to the Future, for instance, used three different DeLoreans.) Because the filming of Ghostbusters was so rushed, only one Ectomobile was put together. Naturally, everyone on set was very cautious around the then-25-year-old jalopy. While they handled the ambulance with care, the car broke down at the end of a shot of the Ecto driving across the Manhattan Bridge. Luckily, this didn't happen until after main production wrapped in New York City, but still, the car was DOA and wasn’t available for use again.


Visual effects supervisor Richard Edlund and his team—who also worked on such films as Raiders of the Lost Ark, the original Star Wars trilogy, and Poltergeist—were given only 10 months to design, storyboard, build, and shoot every special effect in the film. The quick turnaround forced workers like animation supervisor Terry Windell to have to think on their feet, especially when the deadline got very tight. When a wide shot that featured Slimer quickly floating around a chandelier in the Sedgewick Hotel scene wasn’t coming out right, and time was running out, Windell spraypainted a small peanut green in order to mimic the green ghoul. The seconds-long shot depicted Slimer blurred and spinning, so detail wasn’t a factor, and the shot was used in the final print of the film. Windell revealed that the extreme tactics taken for certain shots proved that the effects team was “totally serious about making it stupid.”


You won't see Reitman in Ghostbusters, but still, he does have a presence: For the noises of Slimer pigging out on a pile of food before he famously slimes Peter Venkman, Reitman stepped in to provide the gross-out grub-gorging sounds. Reitman’s naturally deep voice also proved perfect for the moment when Dana becomes possessed and says “There is no Dana, only Zuul,” which was later enhanced with special effects for a truly spooky result.


It isn’t specified, but the voice and mannerisms of the character that Murray plays opposite Dan Aykroyd in this deleted scene is eerily similar to Carl Spackler, the lowly groundskeeper he portrayed in the 1980 comedy masterpiece Caddyshack (which was directed and co-written by Harold Ramis). The scene was cut for time, mostly to get to the scene where Louis Tully is attacked by the demon dog chasing him, but one doesn’t have to wonder what it would have been like if the worlds of Caddyshack and Ghostbusters had collided in such a fashion.  


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The most indelible icon from Ghostbusters is the famous “no-ghost” logo that appeared on the guys' car, their uniforms, and widely among advertisements and promotions for the movie. Associate producer Michael C. Gross, a bit of a renaissance man, designed the image. Prior to getting into the movie business as a producer, Gross served as an art consultant for The Muppets, John Lennon, and The Rolling Stones. He also served as art director for National Lampoon and Esquire in the 1970s.  


While shooting exteriors in front of Dana’s apartment building, the production had permission to temporarily shut down traffic in the area surrounding West 65th Street and Central Park West. What they didn’t know was that it would disrupt traffic throughout Manhattan. During rush hour, cars backed up to Columbus Circle, eventually going all the way downtown. In fact, Aykroyd was concerned that they had inadvertently pushed the traffic jam all the way to the Brooklyn Bridge. After receiving complaints, cast and crew members jokingly told others that the delay was caused by Francis Ford Coppola’s production of The Cotton Club, which was shooting in New York at the same time. One particularly ornery Upper West Side resident who complained was author Isaac Asimov, who stumbled on to the set and told Aykroyd that they were “inconveniencing” him. Aykroyd, a lifelong fan of the writer, smoothed things over by using the opportunity to lavish praise on the irritated Asimov.


The deus ex machina of the Ghostbusters crossing the streams of the proton packs helped them to—spoiler alert—defeat the Marshmallow Man and the evil demon Gozer at the end of the film. According to Ramis, this activity didn't appear in script. He and Aykroyd were unsure how to get the Ghostbusters out of the final scene alive, and because the nuclear technology behind the proton packs was “explained” with humorous techno-babble and mostly left up to the audience’s imagination, they came up with the idea of crossing the streams—an act which would somehow cause a cataclysmic shift in our dimension. After this decision was made, they added in some foreshadowing of the event to an earlier scene, only to revisit the concept in the climactic standoff at the end.


Once the Ghostbusters cross the streams, the rift between the two dimensions causes the Marshmallow Man to explode, raining down marshmallow on the unsuspecting New Yorkers below. But getting that amount of actual marshmallows to dump on the film’s extras was implausible. Instead, Edlund’s team collected 500-gallon batches of shaving cream to substitute for the remnants of Mr. Stay-Puft. William Atherton, who played EPA villain Walter Peck, was skeptical about having such a large amount of heavy cream dropped on him, so they tested the idea on a stuntman using only 75 pounds, and it knocked him to the ground. The stuntman was okay, and another smaller batch was collected to dump on Atherton for the final take in the film.


Once production wrapped, Reitman faced a situation that would possibly have derailed the whole movie. In the 1970s, Universal Studios had produced a live-action TV series titled The Ghost Busters, and their lawyers threatened legal action if the name of the movie wasn’t changed. Reitman, who had shot footage of the leads referring to themselves as the Ghostbusters and of massive crowds shouting “Ghostbusters! Ghostbusters!” was in deep trouble.

Luckily, Frank Pricethe head of Columbia Pictures and the man who originally green-lit the moviewas moving to Universal Studios to become the new studio head there, and allowed Reitman to keep the name for the film. But the legal snafu reared its head again when a TV cartoon was made out of the movie. To satisfy Universal, the Saturday- morning fare was labeled The Real Ghostbusters, so as to not legally confuse the two properties.


Because his song "Holiday Road" was featured prominently in National Lampoon's Vacation (directed by Harold Ramis), Fleetwood Mac guitarist Lindsey Buckingham was allegedly approached about a theme song for the film, but he passed on the project. Reitman hoped that Huey Lewis & The News would take the job, and even used their hit “I Want a New Drug” as a temporary filler song while cutting the film. Lewis declined as well, because he had already agreed to contribute the song “Back in Time” to Back to the Future and didn’t want to do any more soundtrack work. The filmmakers then approached Ray Parker Jr., who had sung hits with Raydio ("Jack and Jill") and was finding success as a solo artist as well. Unfortunately, the titular tune—with the often quoted “Who you gonna call?” and “I ain’t afraid of no ghosts!”—bore a striking resemblance to Lewis' "I Want a New Drug," so much so that the song's publishers sued for plagiarism. The suit was settled out of court, but you can decide for yourself with the mashup of the two songs above.


Composer Elmer Bernstein wanted to go beyond a conventional orchestra for Ghostbusters, so he used both new and old technology. He included the then-cutting-edge Yamaha DX-7 synthesizer to create weird sounds that orchestral instruments couldn’t conjure up, and even employed an Ondes Martenot—a relatively obscure early electronic instrument created in 1928 by inventor Maurice Martenot—for additional otherworldly tones. You can hear it in the beginning and middle of the song above.


On paper and out of context, Ghostbusters was an admittedly outrageous prospect for a feature film. During the movie’s first test screening, held for 200 random people at Columbia Pictures Studio only three weeks after principal photography wrapped, Reitman was utterly terrified. He was not only uncertain about the fundamental plot of the film, he was also concerned that perhaps-too-absurd major details (like the Marshmallow Man) might take audiences "out" of the movie. In addition, only one fully-completed effect shot was available for the test screening—one of the film's opening scenes, where an old librarian ghost transforms into a frightening ghoul. Reitman waited in the wings during the scene, and when audiences burst out laughing one second and hid their eyes the next, he knew that his fears were unfounded. And Reitman knew he had a major hit on his hands while walking around New York City during the second week of the film’s release, where he saw street vendors selling bootleg Ghostbusters T-shirts.

Additional Sources:
Ghostbusters Blu-ray special features
Esquire's Oral History
Peter Aykroyd's A History of Ghosts: The True Story of Séances, Mediums, Ghosts, and Ghostbusters

Kodak’s New Cameras Don't Just Take Photos—They Also Print Them

Your Instagram account wishes it had this clout.
Your Instagram account wishes it had this clout.

Snapping a photo and immediately sharing it on social media is definitely convenient, but there’s still something so satisfying about having the printed photo—like you’re actually holding the memory in your hands. Kodak’s new STEP cameras now offer the best of both worlds.

As its name implies, the Kodak STEP Instant Print Digital Camera, available for $70 on Amazon, lets you take a picture and print it out on that very same device. Not only do you get to skip the irksome process of uploading photos to your computer and printing them on your bulky, non-portable printer (or worse yet, having to wait for your local pharmacy to print them for you), but you never need to bother with ink cartridges or toner, either. The Kodak STEP comes with special 2-inch-by-3-inch printing paper inlaid with color crystals that bring your image to life. There’s also an adhesive layer on the back, so you can easily stick your photos to laptop covers, scrapbooks, or whatever else could use a little adornment.

There's a 10-second self-timer, so you don't have to ask strangers to take your group photos.Kodak

For those of you who want to give your photos some added flair, you might like the Kodak STEP Touch, available for $130 from Amazon. It’s similar to the regular Kodak STEP, but the LCD touch screen allows you to edit your photos before you print them; you can also shoot short videos and even share your content straight to social media.

If you want to print photos from your smartphone gallery, there's the Kodak STEP Instant Mobile Photo Printer. This portable $80 printer connects to any iOS or Android device with Bluetooth capabilities and can print whatever photos you send to it.

The Kodak STEP Instant Mobile Photo Printer connects to an app that allows you to add filters and other effects to your photos. Kodak

All three Kodak STEP devices come with some of that magical printer paper, but you can order additional refills, too—a 20-sheet set costs $8 on Amazon.

This article contains affiliate links to products selected by our editors. Mental Floss may receive a commission for purchases made through these links.

16 Facts About The Other Guys On Its 10th Anniversary, Courtesy of Adam McKay

Mark Wahlberg and Will Ferrell star in Adam McKay's The Other Guys (2010).
Mark Wahlberg and Will Ferrell star in Adam McKay's The Other Guys (2010).
Macall Polay/Columbia TriStar Marketing Group, Inc.

August marks the 10th anniversary of The Other Guys, director Adam McKay’s send-up, and tribute, to the buddy cop movies that have been a Hollywood mainstay for decades. Will Ferrell and Mark Wahlberg play Detectives Allen Gamble and Terry Hoitz, two disgraced and otherwise dismissed desk jockeys who inadvertently uncover a massive financial scandal at the exact moment when corporate malfeasance begins grabbing overdue newspaper headlines. The duo’s comic chemistry thrives on Ferrell’s bookish awkwardness juxtaposed with Wahlberg’s macho exasperation, while McKay (working with writer Chris Henchy) exercises a growing social consciousness against the backdrop of one of cinema’s most familiar and durable genres. Supporting performances by Eva Mendes, Michael Keaton, and Steve Coogan, plus cameos by Dwayne "The Rock" Johnson and Samuel L. Jackson (not to mention a murderer’s row of up-and-coming comedians and improvisers) breathe unforgettable life into an escalating series of side-splitting scenarios.

McKay’s most vivid memory of the shoot, he tells Mental Floss, was of the cinematic and gastronomic indulgence he enjoyed shooting a (for him) robustly-budgeted action movie in New York City. “I think I put on literally 25 pounds during that shoot,” he says. “At the end, my wife just looked at me and was like, 'You look as big as a house.' I mean, some days my body would hurt from laughing all day, and then I just ate like chicken parm sandwiches and pizza.

"That's the closest I've come to a full-on decadent Hollywood movie," McKay continues. "We had a really big budget. We were in New York City. We had cars blowing up. We had all these big actors everywhere. It's still, by the way, a budget that's probably half of a Marvel movie or a Michael Bay movie. But that's the closest I've ever come to feeling like Tony Scott and that kind of world."

Exclusive to Mental Floss, check out these behind-the-scenes tidbits and trivia from the making of The Other Guys, straight from McKay himself.

1. The Other Guys started with the unlikely pairing of Mark Wahlberg and Will Ferrell—as dinner companions.

"We went to a little Italian place off Santa Monica and the energy between the two of them was really funny," McKay recalled of what kicked off the idea for Will Ferrell and Mark Wahlberg's on-screen pairing. "Mark's a Boston guy, athlete, tough, boxer; Will's big—Will's 6-foot-3 and definitely an athlete and no pushover—but at the same time, at root, kind of a sweetheart. And they just had a funny dynamic between them. I kept laughing the whole night. And that was really what launched it."

2. Adam McKay didn’t set out to make The Other Guys a parody, but Hollywood quickly taught him not to edge too closely to familiar properties.

Mark Wahlberg and Will Ferrell are The Other Guys (2010).Macall Polay/Columbia TriStar Marketing Group, Inc.

"There was some movie that came out about two 'star' cops. And I jokingly said, 'We should do the movie about the cops in the background of the star cops,'" McKay says. "Because they were doing an A-Team movie, I said, 'We should call ours The B-Team.' We may have even announced the movie as that, and someone back-channeled us, like, 'By the way, don't call your movie The B-Team. We're not going to sue you, but like, just don't do that.'"

3. As appealing as it was to send up buddy-cop movie conventions, then- (and still-) current events helped solidify The Other Guys's themes.

"The other big component was that the financial collapse was actively happening," McKay says of the timing of The Other Guys. "We kept talking about how you can't do a jeopardy plot that’s about drug smugglers—like we'll be looking back wistfully at the days of drug smugglers and safe crackers and bank robbers. And so a big part of it was: How do you do a modern cop buddy film when banks have disappeared trillions of dollars and millions of people have lost their homes through this kind of bureaucratic malfeasance? And that launched Ferrell’s character, a forensic accountant into paperwork—and the idea was that the new cop heroes are going to be bureaucrats who are into paperwork."

4. Michael Keaton’s repeated TLC references were written into The Other Guys script, though Adam McKay wasn't sure how well the running joke would translate.

A running joke in The Other Guys has Michael Keaton's Captain Gene continually quoting TLC songs. "We had done a couple readings of the script where it played really well, not that that means it's going to play funny in the final movie," McKay says. "We've had bits that killed in read-throughs, and then they go in the final cut and something about the rhythm just doesn't work. We were fairly confident in that joke. There are other times though where you do discover the bit and you're improvising, you're throwing out alternatives, the actors are playing around, and you discover a bit. Then I'll turn to Kate Hardman, our script supervisor and say, 'Alright, we’ve got to keep that one alive.' And then in future scenes, she would remind me, 'Remember, you had this joke you wanted to keep alive' and I'll get one take where we do it."

5. Dirty Mike and the Boys, on the other hand, were not in the original script.

"Rob Huebel improvised the line 'soup kitchen' and we kept joking about Dirty Mike and The Boys. The scene where I show up with our DP Oliver Wood, [our property master] Jimmy Mazzola, and our producer Pat Crowley, and we're Dirty Mike and the Boys, was not scripted," McKay explains. "That came out of us loving Huebel’s improv so much that we knew we had to put Dirty Mike and the Boys in the movie. That was a perfect example where improv spawned a bit that ended up running through the movie."

6. The scene involving Allen’s ex-girlfriend “Christinith” was inspired not just by the particular way some people spell or pronounce their names, but by their annoyance when it's mispronounced.

"Obviously it was a running joke that very beautiful women love Allen Gamble," McKay says. "And we were joking about people through the years who have names they want pronounced a certain way and they're oddly hostile about it. There was someone we'd known who was named Anna, but she wanted to be called 'Ana,' and if you called her Anna, she would get mad and I'd be like, 'Wait a minute, what? You can't get mad about that.' So that was where the Christinith joke came from."

7. Will Ferrell’s “Gator” alter ego in The Other Guys was created to further develop the film’s “paper-pushers as heroes” idea.

"The character [Allen] was a guy who appears very mousy and very beta and quiet and we just kept kicking around the idea of: What's power now? What's a hero now? And we had this idea that the reason that Allen Gamble was so conservative and buttoned-down was that he had kind of let his power out once before and it hadn't gone very well," McKay explained of the many dichotomies of Ferrell's character. "And then we just started laughing about the idea that he became a pimp and didn't realize it. So that was the joke—the idea that he’s like, 'No, no, no, I'm helping them run a dating service.' 'No, you were a pimp.' And the lifestyle pulling him down without him really realizing what he's become. The thing that makes me laugh the hardest is when he's first talking to the girl in college, she's just going, 'I could go on dates with guys.' 'Oh yeah. I can make sure to collect the money.' It’s so innocent."

8. Adam McKay and his collaborators refined a unique technical process leading up to The Other Guys to keep track of the many variations attempted, and often improvised, during production.

"Brent White, the editor on The Other Guys, has this great system where you can go to each line of the script and click it and all the alt versions of it will be underneath it," McKay explains. "That was really a breakthrough, and once he really got that system going, it changed a lot of things. Every version, every permutation of the joke is right in front of you, and it made the whole thing easier to sort."

9. The Other Guys composer Jon Brion is a musical chameleon, but Adam McKay didn’t direct him to draw on the sound of, say, Michael Kamen’s Lethal Weapon scores for Allen and Terry’s themes.

"A lot of movies I did with Will are always kind of in between an original story and a parody," McKay says. "We want them to be original, but they're clearly messing around with the tropes of the genre that you're used to. So the trick was I wanted it to sound like a cop score, but I also wanted it to be good. So we kept kind of batting that around."

10. The Oscar-worthy end credits song “Pimps Don’t Cry” emerged from a need for actress Eva Mendes to have a melody to sing, and Jon Brion’s chops corralling heavy hitters for a comedy-soul classic.

Will Ferrell and Eva Mendes in The Other Guys (2010).Macall Polay/Columbia TriStar Marketing Group, Inc.

"We just wrote 'Pimps Don't Cry' for the scene," McKay explains. "When [Eva Mendes] sang it, we're like, wait a minute, can we record this? And, of course, Jon Brion knows everyone and has access to studios. So before you know it, we had CeeLo Green in there and it turned out Eva Mendes could sing. We recorded a whole track and I think even shot a video. But it came out of the scene. The actors were like, 'Well, what's the melody?' And we're like, 'Jon, you want to write something?' And then of course I was like, I gotta hear that song!"

11. Adam McKay explored the idea of Pop-Up Video-style detours in The Other Guys, but couldn’t figure out how to pull it off in the pre-streaming era.

"We had a thing that we were going to try and do in the movie where we would freeze-frame scenes and then a little box would pop out and show something from a couple months later. That was a style that was written into the script we had happening a bunch of times, and we could not get it to work. It's funny because now I know how I would do it, but at that time we just couldn't [make it work]."

12. The Other Guys's planned “flash-forward” scenes also included future President Donald Trump, whose Trump Tower gets blown up in the opening scene.

Future president Donald Trump filmed a cameo for The Other Guys, but it didn't make the final cut. "Donald Trump just basically wants to get paid," McKay says. "So if you show up and you write out a check for a certain amount of money, I can't remember what the amount was, $75,000 or $100,000 or something, he'll do it. Pretty much anyone could go to him and be like, 'Here's a check for $75,000,' and he will do it. Never in a trillion years imagining the guy would become president. He sort of was a New York joke for years, and Trump Tower was kind of known as being this cheeseball place, so it was a pure joke. But when we put it in the movie, we were like, 'Donald Trump’s so cheesy and cheap, let's not put this in the movie.' Even for the silly movie we were doing, it felt cheeseball, so we ended up cutting it out."

13. If there was a scene in The Other Guys that gave Adam McKay the “tingle in his balls” as a filmmaker that Allen and Terry feel while pursuing bad guys, it was the “Aim for the bushes” scene that sets up the whole film.

"I mean, that's one of my all-time favorite moments from anything I've ever been involved in," McKay says of his favorite scene. "I would say the family prayer scene in Talladega Nights, the Jenga tower scene in The Big Short, the other one was in Anchorman, when Jack Black kicks the dog off the bridge where the audience made this weird sound and were so stunned by it. And then Danson and Highsmith jumping off the building —oh my god, I had so much fun watching that with test audiences. No one saw it coming.

"[The Rock and Samuel L. Jackson] are such big stars that just in a million years, no one imagined it. When the guys were falling off the tower, they were so convinced they weren't going to die. You would hear people in the audience go, 'Yeah right, they would never survive that.' But when they hit, there was such a collective inhale from the whole audience, and then just explosion of laughter. But the other great moment for that was when I was in the edit with Erica Weis, our music editor and music supervisor, and we discovered the Foo Fighters song for that moment. It was just so perfectly over-the-top and a little cheesy, yet plausible. Of course the filmmakers would play this song! The entire puzzle clicked together perfectly when that song went in."

14. Adam McKay credits his executive producer for the coup of recruiting Dwayne Johnson and Samuel L. Jackson as the “star cops” by whose police work Allen and Terry would be measured.

"I give [executive producer] Kevin Messick a lot of credit for that casting," McKay says. "We wanted two big action stars that you would never think would die in a movie, and boy, Kevin really helped us get them. He had some connection to Dwayne Johnson, and he worked the phones to really help us get Sam Jackson. I saw Sam Jackson years later and he's like, 'People keep asking me if we're going to do a spinoff movie with these guys.' I was like, oh man, that could be fun. And Dwayne Johnson told me too he had people come up to him and mention those characters all the time."

15. The original ending to The Other Guys was even more bleak than the statistics that play over the end credits.

"We had this whole ending where like they bust Steve Coogan's character Ershon and they pull the thing together and they take him in and it turns out Congress has changed the laws and what he's done is no longer illegal," McKay explains. "I wish we had ended with that. That would have been a better ending. And then we had this other ending with Derek Jeter, where he comes out and it turns out he's connected to this whole underground thing that's fighting against the big banks. That's in the TV version they air, but it didn't really work ... when I say work, I don't care if the audience loved it. It didn't work for me with the narrative when we a test screened it. So I didn't think we stuck the landing on the ending on it."

16. Adam McKay always worked culturally relevant themes into his films, but The Other Guys galvanized this approach going forward, reflected more prominently in The Big Short and Vice.

Adam McKay on the set of The Other Guys (2010).Macall Polay/Columbia TriStar Marketing Group, Inc.

"Ferrell and I would do these comedies, and we would always have something [else] going on in them," McKay says of his desire to weave bigger themes into his films. "Even Step Brothers was kind of about how consumer culture turns us into big giant children. And the Iraq War was such a horrible tragedy and disaster that right around that time, and that’s when I started thinking, 'I just gotta do some stuff that's more overt.' When the financial collapse hit, it was just like, all bets are off. So yeah, we tried to craft the whole movie like a comedic allegory for the financial collapse. If you look at the movie, they keep ignoring their union. And then there’s a big financier covering losses by taking money from workers. Of course, when the movie came out, no one cared—the movie just played as a comedy. Except for the ending credits, people really didn't catch it at all. Which I don't blame them! I think it was a little bit of an experiment in that sense. And the good news is the movie’s funny and I really love how it turned out."