A later home video release names the following production screen credits, which may not have been included in the original theatrical release: leadman Gary Lynch; assistant to Mrs. Kennedy, Denise Durham; production illustrator Dick Lasley; set designers Bill Matthews and Martha Johnson; furniture supplier Grand Tree Furniture Rentals and Sales; music supervisor Harry V. Lojewski; and stunt performers Bobby Clark, Donna Garrett, and Chuck Waters. The reissue cast credits also list Craig Simmons as “Implosion man,” and Allan Graf and Joseph R. Walsh as “Neighbors." While the theatrical production credits lists Dana Gendian and Jaimi Gendian under “Stunts,” the reissue includes them among the cast, as “Special children.”
       On 21 Apr 1981, DV announced that writer-producer Steven Spielberg would reteam with Raiders of the Lost Ark (1981, see entry) producer Frank Marshall for Poltergeist, to be directed by Tobe Hooper. A 13 Aug 1981 LAT article claimed Spielberg cast JoBeth Williams as “Diane Freeling” after viewing an international cut of The Dogs of War (1980, see entry), featuring scenes with Williams that were edited out of the domestic release.
       According to the 8 May 1981 DV and 12 May 1981 HR, principal photography began 11 May 1981 in Simi Valley, CA. Production notes in AMPAS library files indicated that storm scenes were filmed on Stage 12 of Metro-Goldwyn-Mayer (M-G-M) Studios in Culver City, CA, while a swimming pool and crawlspaces were built on three additional soundstages. The 10 Jun 1981 LAT noted that magician Larry Wilson had been hired to assure that the film’s ghostly “gags” looked believable, but he does not receive onscreen credit.
       Following a 12 Jun 1981 DV brief stating that production continued a day ahead of schedule, the 12 Aug 1981 Var reported that principal photography had concluded two days early at M-G-M’s Stage 30. The 13 Aug 1981 LAT stated that Spielberg visited the set in order to urge production to finish before the anticipated Directors Guild of America (DGA) strike in Jul 1981; he was often accompanied by friend and Industrial Light & Magic Co. founder, George Lucas.
       According to the 6 May 1982 LAHExam, Poltergeist was one of a dozen M-G-M/United Artists films partially financed by SLM Entertainment Ltd., which fronted between one third and one half of each picture’s budget, amounting to no more than $7.5 million. Poltergeist had an estimated total cost of $15 million, with an additional $9 million for prints and advertising. For a flat fee of $425,000, M-G-M/UA was granted supervision of theatrical distribution on all SLM films, as well as a 22.5% fee on all theatrical rentals. The article claimed that M-G-M relied on the film’s financial success to help alleviate the studio’s $600 million debts. A 31 May 1982 Newsweek article listed the final budget at $11 million.
       During production, a 2 Jun 1981 LAHExam article fueled speculation that, due his heavy involvement on set, Spielberg actually served as the project’s co-director. A follow-up LAHExam story on 5 Jun 1981 included a statement from Hooper clarifying that Spielberg had not overstepped his bounds as a producer, and had been preoccupied with preparations to direct another film, beginning Aug 1981. The 1 Feb 1982 DV stated that Spielberg was editing E.T.: The Extra-Terrestrial (1982, see entry) and working with composer Jerry Goldsmith to score Poltergeist before both pictures’ scheduled openings in Jun 1982. A 24 May 1982 LAT article stated that Goldsmith collaborated exclusively with Spielberg, and that Hooper had “no input whatsoever.” Additionally, the 13 Aug 1981 LAT cited JoBeth Williams’ claim that Spielberg and Hooper collaborated on set, but Spielberg had “the final say.” The 2 Jun 1982 NYT noted that Spielberg also completed storyboarding, selected cast and locations, and supervised editing. Despite a clause in Spielberg’s Universal Pictures contract preventing him from working on any motion picture while directing E.T., the filmmaker remained closely involved with Poltergeist to attempt to keep the budget within 10% of the approved $9.5 million limit set by M-G-M. Although Spielberg and Hooper insisted the arrangement was amicable, the 25 May 1982 HR announced that the Directors Guild of America (DGA) had begun a formal investigation to determine if Spielberg’s actions were “detracting from the director’s credit,” but made no mention of specific guild rules that may have been broken. On 8 Jun 1982, HR published a letter Spielberg wrote to Hooper on 2 Jun 1982, responding to the press’s allegations and testifying for Hooper’s agreeability throughout production.
       Two weeks later, the 18 Jun 1982 DV reported that M-G-M was required to pay Hooper $15,000 in damages for deliberately attempting to “enhance the box office appeal” by displaying “A Steven Spielberg Production” twice as large as Hooper’s name in promotional trailers. Although the DGA originally demanded $200,000 in damages and correction of all trailers, the case arbitrator ordered M-G-M to correct only trailers circulating in Los Angeles, CA, and New York City, in addition to all future trailers. The studio was also required to issue a public apology to Hooper and the DGA, which ran in the 9 Jul 1982 HR.
       A 5 Apr 1982 M-G-M press release in AMPAS library files announced that the studio was scheduled to host a 21 May 1982 preview screening and champagne reception at the AMPAS Samuel Goldwyn Theater, benefitting the Los Angeles Collegiate Council to aid local college students. A 24 Apr 1982 LAT item reported that Spielberg was expected to attend a 21 May 1982 screening benefitting the Southern California Society for Physical Research, at M-G-M Studios. The 24 May 1982 LAHExam reported sold-out preview screenings in Culver City, CA, Chicago, IL, and Toronto, Canada, also on 21 May 1982.
       The 5 May 1982 Var reported that the Motion Picture Association of America (MPAA) Classification & Rating Appeals Board agreed to change the film’s rating from 'R' to 'PG' after hearing statements from Spielberg, M-G-M chairman Frank Rosenfelt, and psychiatrist Dr. Alfred Jones in New York City on 30 Apr 1982. A 25 May 1982 HR item claimed the R-rating was assigned due to “children in peril,” despite no actual gore or bloodshed; however, the vote to appeal was unanimous. A 7 May 1982 LAT story stated that Spielberg advocated for the creation of a new category between PG and R. On 2 Jun 1982, NYT reported the ratings decision behind Poltergeist would likely force MPAA President Jack Valenti to consider the long-running debate of adding an “R-13” label. Meanwhile, the 3 Jun 1982 Evening Outlook stated that the city Motion Picture Classification Board of Dallas, TX, filed suit against M-G-M/UA to stop Poltergeist’s local release, arguing that the film was “not suitable for young persons.” In response, M-G-M/UA countersued, planning to ignore the motion and continue advertising. The 5 Jun 1982 LAT claimed that the film would be shown in seven Dallas theaters under the MPAA-issued PG rating until the local jury made its decision. A 15 Jun 1982 HR article stated that jury selection was underway before the hearing began later that same week. According to the 17 Jun 1982 HR, the Dallas board argued that the graphic nightmare scene featuring Marty Casella’s character, “Dr. Marty Casey,” made the film too violent for children under sixteen years of age. During a special screening, jury members compared the footage to the face-melting scene in Spielberg’s Raiders of the Lost Ark, which passed with a PG rating from the local council. As a result, the board voted in favor of M-G-M.
       Prior to the film’s 4 Jun 1982 domestic opening in 900 theaters, an M-G-M press release announced that visual effects supervisor Richard Edlund would promote the film that week in Chicago, Dallas, and Boston, MA. Meanwhile, UCLA psychology professor Dr. Thelma Moss was scheduled to visit five major cities through 10 Jun 1982, to explain the poltergeist phenomenon.
       A 7 Jun 1982 M-G-M press release announced a three-day box office return of $6,896,612 in 890 theaters. According to a 27 Oct 1982 M-G-M announcement, the film was re-released in 864 theaters for Halloween, beginning 29 Oct 1982. A 20 Aug 2008 HR story reported that, to date, Poltergeist had grossed $122 million worldwide.
       On 18 Sep 1982, Var stated that The Beast Within (1982, see entry) actor Paul Clemens and screenwriting partner Bennett Yellin, planned to sue Spielberg and M-G-M for $37 million, alleging copyright infringement. The outcome of the lawsuit, however, could not be determined.
       Poltergeist received three Academy Award nominations for Music (Original Score), Sound Effects Editing, and Visual Effects. A 25 Feb 1983 DV item reported that composer Jerry Goldsmith received the Edgar Allan Poe Award for Best Musical Score from the National Horror Motion Picture Association; the picture was also honored as Best Film.
       Following the film’s sequels, Poltergeist II: The Other Side (1986, see entry) and Poltergeist III (1988, see entry), the 25 Jan 1989 HR announced M-G-M/UA Television’s plans to develop a syndicated television program titled Poltergeist: The Series. The studio hoped to partner with companies in Canada, Australia, and Great Britain to produce ninety-two episodes, each budgeted between $400,000 and $500,000. Production did not move ahead, and on 10 Apr 1995, DV reported that M-G-M/UA was attempting to revive the idea as a cable series. The 20 Aug 2008 HR indicated that writers Juliet Snowden and Stiles White had written a script for M-G-M/UA’s planned motion picture remake of Poltergeist. Five years later, the 26 Sep 2013 HR announced that producer Sam Raimi and director Gil Kenan had cast Sam Rockwell and Rosemarie DeWitt for the lead roles in another "reboot" script by David Lindsay-Abaire. As of the writing of this Note, release is scheduled for 24 Jul 2015.
      Although not included in end credits, the film uses excerpts of John Stafford Smith’s music from “The Star-Spangled Banner” and footage from the 1943 motion picture A Guy Named Joe (see entry).