Groundhog Day Harold Ramis

Concept and original draft

The original idea for Groundhog Day came to writer Danny Rubin in 1990. He had moved to Los Angeles to work as a screenwriter. While waiting in a theater for a film to start, he was reading Anne Rice's book The Vampire Lestat (1985).[3][4][5] Rubin began musing about vampiric immortality and what one would do with their time if it was limitless. He reasoned that vampires were like normal people who did not need to adhere to ordinary rules or moral boundaries.[4][5] He questioned if and when immortality would become boring or pointless, and how a person would change over time, especially if they were incapable of substantial change.[4] He singled out men he deemed to be in arrested development, who could not outlive their adolescence.[4][5]

Having recently sold his first script for what would become the thriller film Hear No Evil (1993), his agent prompted him to develop a "calling-card" script that he could use to gain meetings with producers. Rubin began work on his idea of a man changing over eternal life, but quickly realized that the idea was impractical because of the expense of depicting historical and future events. At this point, Rubin recalled a brief story concept he had written two years earlier that followed a man who woke every morning to find it was the same day repeating. Rubin married the two ideas to create the outline for Groundhog Day. By portraying eternity as a repeating cycle instead of a straight line through history, he eliminated the production cost of constantly changing settings.[4] He believed that the repetition also offered him more dramatic and comedic possibilities.[5]

Rubin opened a calendar and picked the next nearest holiday, February 2, Groundhog Day. He saw it as a date with story potential because it was a recognized holiday without much widespread attention. Rubin believed that people were vaguely aware of the holiday, on which a groundhog predicts the coming of spring. Even so, he believed few people outside Pennsylvania were aware that the actual festival takes place in the small town of Punxsutawney, something he became aware of through a writing job for a local phone company.[4] Setting the story in Punxsutawney provided a small area in which to trap Phil Connors, while reporting on the event gave the character a reason to visit. Rubin took the main character's name from Punxsutawney Phil.[4] He hoped the film could become a perennial holiday favorite, like It's a Wonderful Life (1946) and A Charlie Brown Christmas (1965).[6][7][8]

Rubin spent eight weeks working on the story: seven making notes to define the rules and characters, and one writing the script.[4][5] He struggled to establish a cause for the time loop, considering technological, magical, and celestial origins. He considered these methods interchangeable and felt the cause was unimportant and could detract from the story elements he wanted to focus on. Rubin said that the lack of explanation made Phil's situation more relatable, as "none of us knows exactly how we got stuck here either."[4] He chose to begin the story in medias res, with Phil already caught in the time loop.[4] The first scene included Phil waking to "I Got You Babe," predicting the radio host banter and the actions of the hotel patrons, and attacking a pedestrian outside. Rubin thought this would intrigue an audience trying to understand how and why he is doing these things.[5] He chose "I Got You Babe" because it used a lot of repeating lines and was about love, which he felt were thematically resonant aspects.[9] He likened his original script to the 1949 British black comedy film Kind Hearts and Coronets, particularly the flippant way in which Phil's multiple suicides are shown.[4]

Rubin did not initially write the film as a broad comedy, considering it more whimsical. He found that the funnier elements were the easiest to think of; one of the earliest scenes he wrote was about Phil using his ever-increasing knowledge to seduce women.[5] Loops were also dedicated to Phil seeing how far he could get outside of Punxsutawney; inevitably, he was always returned to the town.[10] Even so, the script focused much more on Phil's loneliness. He breaks the loop only after realizing that there are other lonely people and that he can do good deeds to make them happier. Scenes in the finished film happened much earlier in Rubin's script, such as Phil driving over a cliff. The passage of time was also more distinct; Phil would track it by reading one page of a book per day, reaching his low point when he realizes he has run out of books. The original ending also featured a twist: Phil breaks his loop and then confesses his love to Rita. The perspective then becomes Rita's; she rejects Phil's advance because she is not ready for love and gets trapped in a loop of her own.[3]

Development

Rubin's agent used the script to arrange meetings with producers; although it did not sell, the meetings generated other work for him.[4][5] In 1991, after his agent left the industry, Rubin distributed the Groundhog Day script in an effort to secure a new representative. It came to the attention of Richard Lovett at Creative Arts Agency.[5][11] Lovett said that he could not represent Rubin, but passed the script to his own client, Harold Ramis.[5]

By the early 1990s, Ramis had begun moving away from involvement in the anti-establishment and anti-institutional comedies, such as Caddyshack (1980) and National Lampoon's Vacation (1983), that had defined his earlier career.[7][11] While Ramis had successes in front of the camera and in creative roles like writing, his last directorial effort, Club Paradise (1986), had been a critical and commercial failure.[12][13][14] He wanted to direct an unusual project and was particularly interested in comedies about redemption and discovering one's purpose in life.[7][11] Rubin was aware of Ramis's previous work, having watched him in film and television.[4]

Ramis admitted that he did not laugh while reading Rubin's script. He was interested in the underlying spirituality and romance present, but thought it needed more humor.[12] The pair discussed the core ideas in the script, raising parallels between it and the concepts of Buddhism and reincarnation.[4] They also discussed whether it was ethical for Superman—a superhuman being with the power to save the lives of countless people and prevent disasters—to effectively waste time on adventures with his partner Lois Lane.[4][12]

Rubin's script became the subject of two offers: one arranged by Ramis through Columbia Pictures that would grant his project a higher budget, but at the cost of creative control, and a smaller independent studio that offered a lower budget of $3 million, but would let Rubin retain his original concept. Rubin chose to go with Ramis's deal. As expected, the studio wanted changes.[3]

Writing

Rubin admitted to becoming defensive about the studio's changes. He was concerned that they would remove what he saw as innovative plot points and turn it into a generic comedy film.[4] Ramis supervised the rewrite,[12] tasked with balancing Rubin's desire for originality and the studio's demand for a broad comedy.[3] The pair loosely used the Kübler-Ross model of the five stages of grief—denial, anger, bargaining, depression, and acceptance—as an outline.[15][12] Ramis imagined himself in Phil's situation and the things he would do and feel if in the same cycle of entrapment.[12] The pair spent weeks revising the script.[6] Ramis suggested that Rubin's original ending, with Rita trapped in her own loop, be removed. He felt that audiences would dislike this as it offered no catharsis.[11][16] Similarly, he felt it was important to retain the story's darker elements, such as Phil's suicides, as these compensated for the necessary sentimental moments.[12]

Rubin delivered a fresh draft on February 2, 1991.[3] He was contractually permitted to write another draft, but the studio had Ramis take over, bringing Rubin's involvement to an end.[17] Ramis took Rubin's new draft and began his solo rewrite.[4][3] He found the sentimentality and sincerity completely opposed to everything he had learned to do as a comedian, and deliberately tempered the sweeter moments with a cynical and grouchy tone.[12] Ramis reorganized the script into a mainstream three-act narrative.[18] He emphasized Phil's smug attitude as a means of distancing himself from others, giving him a defined story arc as a classic comedic lead character deserving of his punishment.[7][11] Ramis liked Rubin's concept of starting with the loop in progress, but associate producer Whitney White suggested starting the film before the loop begins because she thought it would be more interesting for the audience to see Phil's initial reaction to his predicament.[19][20]

Ramis also removed Rita's boyfriend, Max, and introduced (then removed) Phil's executive producer, Gil Hawley.[21] This draft featured more scenes focused on Phil's sexual conquests[22] and removed some content deemed more mean-spirited, like Phil asking Rita to be his "love slave." The situation was reversed in the final version of the film, in which Rita buys Phil at the bachelor auction, claiming that she owns him.[21] Phil's journeys outside Punxsutawney were excised, as Ramis did not want the audience becoming too focused on what the rules of the loop were and felt that keeping the story within the town made it more claustrophobic.[23] Phil's expositional narration was removed as well.[4][20] Also excised were more scenes of Phil's later good deeds and the clever methods he used to prevent accidents while making the most efficient use of his time. For example, Phil puts a large rock in a road to stop a truck delivering fish, on which a restaurant patron would have later choked.[24] Where Rubin's original script had been more sermonic and deprecating, Ramis made the tone more optimistic.[19][11] Two versions of a scene with Phil and Rita in a diner from Rubin's original script (left) and Ramis's rewrite (right) exemplify the shift of emphasis toward both Phil's smugness and the romantic core of the film:[7][11]

It was Ramis's version that attracted Murray to the project, though Murray and Ramis immediately clashed over its tone. Murray wanted to focus on the philosophical elements; Ramis countered that it was meant to be a comedy.[3][11][21] The studio was happier with Ramis's draft, believing that his changes made it more appealing to audiences.[3] Columbia Pictures rehired Rubin to assess the script and provide notes. Rubin returned the script with pages of honest and sometimes sarcastic notes. In response, Murray recommended fully rehiring Rubin to assist on the script.[25]

The studio refused to greenlight the project without making explicit why Phil becomes trapped.[4][19] Producer Trevor Albert described a Columbia executive saying, "Why does the day repeat?... I like it... but I don't understand why he gets stuck in this loop."[19] Rubin had conceived of several causes for the loop, including a jilted lover placing a curse on Phil and a mad scientist's invention malfunctioning.[19] Albert and Ramis worked with Rubin to appease the studio, while agreeing to place the scenes too late in the shooting schedule to be filmed—and if forced to shoot it, to simply not include it in the film.[19]

As the conflict between Ramis and Murray continued, Ramis sent Rubin to work on the script with Murray; he believed it was the only way to stop Murray's constant early-morning phone calls. When Ramis called to check on their progress, Murray asked Rubin to pretend he was not there.[3][11] The pair visited the 1992 Punxsutawney Groundhog Day festival to get a better understanding of the event, remaining discreet and not revealing the reason for their visit.[26][27] They then spent weeks working together in New York City revising the script.[6][28] Rubin found Murray's more laid-back approach to writing "frustrating."[29] They were still working on the script a month before filming began, bringing it back closer to Rubin's original.[3]

Rubin and Ramis then collaborated on an additional rewrite. The pair worked on individual sections and then edited each other. Ramis then spent a few days refining it into the screenplay.[3][4] Rubin recommended that they not include any references to the 1990s or any specific period to allow it to remain timeless.[29][30] Rubin has said that the final film largely resembles his script.[12] He did regret the loss of a scene between Phil and a 14-year-old boy, in which the child behaves like Phil did at the start of the film, contrasting with Phil's character development by that point in the script.[31] A few scenes were written but not filmed, including Phil praying at a church, gambling, and a scene Murray personally vetoed, of Phil stripped naked to force an elderly man out of a swimming pool.[3][12] Although the script was complete, it continued to undergo changes during filming.[32][33]

Casting

For the role of Phil Connors, Chevy Chase, Tom Hanks, and Michael Keaton were also considered.[34][35][36] Hanks was Ramis's first choice, but he rejected the offer, rationalizing that he was typecast portraying nice people, and the audience would be expecting his inevitable redemption, whereas Murray was "such a miserable [son of a bitch] on- and off-screen" that the outcome would be less predictable. Keaton said that the role of a "wry, sardonic, glib" character was a typical role for him, but that he simply did not understand the film. He later confessed regret in passing on the role.[35][36] Phil was written as a younger man, but this was changed when it was determined that the appropriate comic actors were all older.[37]

Murray and Ramis had a longstanding friendship and collaborative relationship, having worked together since 1974 on many projects and five films to great success, including Meatballs (1979), Caddyshack, and Ghostbusters (1984).[11][18] Rubin did not write the character as particularly nasty, aiming for a normal person in an extranormal situation. In casting Murray, Phil was portrayed as more cynical, sarcastic, and detached, but not so malicious that audiences would no longer support him.[38] Rubin wanted Kevin Kline for the part, believing Murray did not have the necessary acting ability.[39] Ramis reassured Rubin, saying, "Don't worry. This is what Bill Murray can do. He can be that nasty and still make you like him." MacDowell agreed, saying "He's a jerk but he makes you laugh."[38]

Albert auditioned comedians for the role of Rita, but determined that someone competing with Murray at comedy would be detrimental. Rita was not intended to trade witty comments with Phil, but instead to offer human warmth and intelligence. MacDowell was cast because she was thought to bring an effortless grace suited to Rita's character. MacDowell tried to adapt to Murray's natural improvisation in scenes. She believed that her character's humor comes from her honesty, without being outlandish.[38] Singer Tori Amos was also considered for the role.[40]

Tobolowsky was hired after delivering an "overwhelmingly obnoxious" portrayal during his audition.[41] Michael Shannon, who portrays prospective groom Fred, made his on-screen acting debut in the film. He spent much of the shoot in the background of the diner scene as they wanted all the actors in their places even if the camera was not focused on them.[42] A live groundhog, given the name Scooter, was used to portray Punxsutawney Phil. Punxsutawney officials, upset that their town was not used for filming, refused to allow the real Punxsutawney Phil to appear in the film.[16][43] The groundhog itself was not specially bred for use on film and was trapped in the wild near Illinois a few weeks before filming.[27]

Preproduction

The production wanted to use a "quintessential American town" for location shooting, a place that did not look as if it was specific to any particular time period.[7] The Pennsylvania Film Commission provided location scouting tapes of Punxsutawney, but it became obvious that attempting to film in Punxsutawney would present difficulties, as the town had few ideal filming locations for the scripted scenes.[7][27] Punxsutawney was also too isolated from the necessary amenities. The rural town was nearly 80 miles (130 km) from Pittsburgh, the nearest large city and did not offer sufficient accommodation for the entire cast and crew.[27][44]

As a Chicago native, Ramis enjoyed filming in Illinois and knew the area could meet their needs.[7][27] These included being closer to a major metropolitan area with access to highways, a winter aesthetic, and the ability to complete the production as quickly as possible.[27][44] Ramis also wanted a main street like Punxsutawney's. Location scout Bob Hudgins thought that Mineral Point, Wisconsin, could meet their requirements. During the scouting journey there, the team stopped in the city of Baraboo, Wisconsin, which happened to have a town square. The filmmakers could see the benefits of a town square over a main street. Ramis asked for something similar, but in closer proximity to Chicago.[45]

By the time they arrived in Woodstock, Illinois, over 60 towns had been scouted. Hudgins was aware of Woodstock—a small town of approximately 25,000 people—from his work on the 1987 comedy film Planes, Trains and Automobiles. Though relatively remote, it offered the timeless quality the filmmakers sought. After Hudgins arranged for Ramis and Albert to view the town from the bell tower of the Woodstock Opera House, the decision was made to film in Woodstock.[27][45] The town even came with a large pothole for Phil to step in.[7][45]

Scouts initially found a forested preserve area outside of McHenry, Illinois, to film scenes at Gobbler's Knob. The filmmakers later opted to position the site in the town square instead,[45] recreating it to scale with detailed notes and videos,[7][27][44] which significantly increased the effect on the town. Thousands of extras were on site across multiple takes. Several local businesses banded together to oppose the film's presence, concerned about the influence the production would have on both the town square and storefronts over an indeterminate amount of time. Hudgins said that he was proud that badges with the number "23" on them—representing the 23 united businesses—had to be amended to "14" as he won several over. The city council was also split on whether to let it proceed.[45] Three of the business owners sued Columbia Pictures after filming concluded for lost profits during the production. One of these cases was settled out of court; the outcomes of the other two are unknown.[46]

Filming

Principal photography began on March 16, 1992, and concluded on June 10, after 86 days.[47] The budget was reported to be between $14.6 million and $30 million.[1][27][48] Filming took place mainly in Woodstock, as well as on sets in Cary, Illinois, and Hollywood.[27][49]

Weather conditions varied considerably during filming. Much of the shoot was conducted in conditions described as frigid and bitterly cold.[7] Murray estimated that it was often 20 °F (−7 °C). The conditions persisted until the end of May. Murray said that being outside for up to 12 hours a day left his skin feeling raw and made him irritable.[27] Toward the end of the shoot, as summer began, fake snow was used to replicate the winter setting, and the actors continued to wear their winter gear despite the rising heat.[42] Ramis could not decide on the weather conditions for the background of Phil's and Ned's encounters, so he shot their nine scenes multiple times in differing conditions. He settled on a gloomy setting to indicate a loop coming to an end.[7] Weather conditions were a major factor in a two-week shoot for the car crash scene.[50]

The shoot was also mired in tensions between Ramis and Murray; Ramis was focused on making a romantic comedy, in direct contrast to Murray's desire for a more contemplative film.[7][51] Murray was also in the middle of a divorce from Margaret Kelly.[12] He was reportedly miserable throughout filming, demonstrated erratic behavior, threw tantrums, and often contradicted Ramis's decisions.[18][51] Ramis said that Murray constantly showed up late to set, calling his behavior "just irrationally mean and unavailable."[51] The two also disagreed about the script and other actors' performances.[12] Shannon recounted how he believed he had upset Murray during an encounter. When Ramis heard about this, he made Murray publicly apologize to Shannon.[42] Tobolowsky recounted how before their scene's first take, Murray walked into a bakery and bought all the pastries, which he threw to the gathered onlookers, using Tobolowsky to help carry the load.[33]

The script continued to change during filming. When Tobolowsky arrived for his first scene, he was handed a new script. He estimated that about a third of it was different from his original copy. For example, early in the film, Phil ends his first loop by breaking a pencil to see if it is repaired the following day. A more elaborate scene was filmed in which Phil spray-painted the walls of the room he wakes up in, destroyed objects, and gave himself a Mohawk hairstyle. The scene took three days to film and was costly; Ramis discarded it for something quieter, simpler, and less manic. The revised script also featured more of Phil's misadventures, and his suicide attempts were set closer to the end. These scenes were moved forward in favor of a long third act showing Phil embracing life.[32][33]

Murray endured physical discomfort for some scenes. To prepare for his step into the water-filled pothole, he wrapped his foot in cling wrap, neoprene, and two pairs of socks. As soon as the scene finished, he began an expletive-filled rant until the costume department dried his foot with hairdryers to avoid frostbite.[7] For another scene, Murray asked MacDowell to really slap him, and Ramis instructed the children Murray confronts in a snowball fight to throw hard.[38][51] During the scene in which Phil drives off with Punxsutawney Phil, the groundhog bit Murray on the knuckle. Despite wearing gloves, the bite broke the skin. It bit him again in the same spot on a later take.[43][16]

Murray was hesitant about shooting the final scene in which Phil awakens next to Rita, as how or whether Phil was dressed would affect the tone of the revelation that he had escaped the time loop. Ramis polled the crew, who were split between Phil wearing the same clothes as the previous night and different clothes that suggested the pair had been intimate.[7] A young female crew member served as the tiebreaker, ruling that they should be wearing the same clothes as "anything else... will ruin the movie."[7] As MacDowell's and Murray's characters venture outside the Cherry Street Inn in the film's denouement, the scripted line "Let's live here" is tempered by a Murray ad lib, "We'll rent to start."[52]

Many locations in and around Woodstock were used in the production. The Woodstock Town Square features prominently. A bar in the former courthouse is used for a bar in Rita's hotel. The Woodstock Opera House served as the exteriors of Rita's hotel, and its tower is used for Phil's suicide leap.[49][53] The Cherry Street Inn was a private residence; the interior was shot on a set.[49] Woodstock City Lanes was used for the bowling alley scene.[53] The Tip Top Cafe, a setting for several scenes, was purpose-built for the film. Local demand later led to a real diner with a near-identical name at the same location.[53][54] The bachelor auction where Phil demonstrates his personal transformation was filmed at the Woodstock Moose Lodge.[49][53] The scene of Phil driving a truck over a cliff was shot in Nimtz Quarry in Loves Park, Illinois, about 34 miles (55 km) from Woodstock. A rail system was used to propel two vehicles into the quarry on separate takes, to give Ramis a choice of shots; pyrotechnics were employed to make each explode.[50]