Los Angeles: Columbia Pictures, 1984. Very Good.
7.5 x 7 x 3 inches. Two soft foam costume hands, painted white. Very good, left hand with a two inch closed tear to palm, light wear to creases; right hand overall lightly charred, with some wear and a few shallow tears to creases. With a copy of Cinefex magazine, Number 17 (June 1984), which features a Ghostbusters making-of-the-movie article, with Mr. Stay Puft on the cover; near fine with mild creasing and a touch of wear. A rare and iconic costume piece, from the suit that sustained burns during filming. At the dramatic climax of Ghostbusters, an epic battle of good and evil takes place between the Ghostbusters of New York City and Gozer the Traveler, an evil Samarian demigod who comes back in time to take over the world. Gozer challenges the Ghostbusters to "choose the form of the destructor"; Ray Stantz thinks of a childhood memory, roasting Stay Puft marshmallows around a campfire. Mr. Stay Puft, the product's brand symbol, manifests into a 112.5-foot monster who then attacks them. The Ghostbusters "roast" Mr. Stay Puft with their proton packs, but they are not able to destroy him or Gozer until they pull a risky move by crossing the streams of their Nutrona wands. The Stay Puft Marshmallow Man is iconic, and has been featured in comic books, video games, action figures, and the Ghostbusters animated cartoon series. Ghostbusters was filmed by Entertainment Effects Group (EEG) in Marina Del Rey, CA. Sculptor and designer Bill Bryan, who also made suits for Dune, designed and created the Stay Puft Marshmallow Man suit, and he also wore it in the film for the walking scenes. Two "hero" suits were created for these scenes, with another "burn" suit made for the shots where the Ghostbusters roast Mr. Stay Puft. These costume hands are from the "burn" suit, worn by stuntman Brad Alan. To simulate the roasting, flash paper rolled up with fireworks stars were embedded into the foam and then ignited. "The scenes with the Stay-Puft man being blasted by the Nutrona wands were very important in making the audience believe the wands really had some power. …In another shot, we loaded up the chest with explosive charges, fired them off, and had the face grimace. It looked like he was really hurt - and, in fact, I felt bad afterwards," said John Bruno, EEG art director who previously worked as animation supervisor on Poltergeist. Ghostbusters received an Oscar nomination for Best Visual Effects. [Ghostbusters by Adam Eisenberg, Cinefex magazine #17.].