Editing Groundhog Day (film) (section)

== Production ==
===Concept and original draft===
[[File:Danny Rubin lectures (cropped).png|thumb|left|upright|Screenwriter [[Danny Rubin]]  in 2013]]
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).<ref name="DOGRubin" /><ref name="telegraph interview" /><ref name="bigthink rubin" /> 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.<ref name="telegraph interview" /><ref name="bigthink rubin" /> 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.<ref name="telegraph interview" /> He singled out men he deemed to be in [[arrested development]], who could not outlive their adolescence.<ref name="telegraph interview" /><ref name="bigthink rubin" />

Having recently sold his first script for what would become the thriller film ''[[Hear No Evil (1993 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.<ref name="telegraph interview" /> He believed that the repetition also offered him more dramatic and comedic possibilities.<ref name="bigthink rubin" />

Rubin opened a calendar and picked the next nearest holiday, February{{nbsp}}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.<ref name="telegraph interview" /> 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.<ref name="telegraph interview" /> He hoped the film could become a perennial holiday favorite, like ''[[It's a Wonderful Life]]'' (1946) and ''[[A Charlie Brown Christmas]]'' (1965).<ref name="VultureRubin" /><ref name="Varietyat25" />{{sfn|Gilbey|2004|p=9}}

Rubin spent eight weeks working on the story: seven making notes to define the rules and characters, and one writing the script.<ref name="telegraph interview" /><ref name="bigthink rubin" /> 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."<ref name="telegraph interview" /> He chose to begin the story {{lang|la|[[in medias res]]}}, with Phil already caught in the time loop.<ref name="telegraph interview" /> 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.<ref name="bigthink rubin" /> 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.{{sfn|Gilbey|2004|p=34}} 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.<ref name="telegraph interview" />

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.<ref name="bigthink rubin" /> Loops were also dedicated to Phil seeing how far he could get outside of Punxsutawney; inevitably, he was always returned to the town.{{sfn|Gilbey|2004|p=65}} 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.<ref name="DOGRubin" />

===Development===
[[File:Harold Ramis Oct 2009.jpg|thumb|upright|Director and writer [[Harold Ramis]] in 2009]]
Rubin's agent used the script to arrange meetings with producers; although it did not sell, the meetings generated other work for him.<ref name="telegraph interview" /><ref name="bigthink rubin" /> 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]].<ref name="bigthink rubin" /><ref name="new yorker" /> Lovett said that he could not represent Rubin, but passed the script to his own client, Harold Ramis.<ref name="bigthink rubin" />

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.<ref name="Varietyat25" /><ref name="new yorker" /> 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.<ref name="LATIMesRamis" /><ref name="JamaicaObserver" /><ref name="AVClubParadise" /> He wanted to direct an unusual project and was particularly interested in comedies about redemption and discovering one's purpose in life.<ref name="Varietyat25" /><ref name="new yorker" /> Rubin was aware of Ramis's previous work, having watched him in film and television.<ref name="telegraph interview" />

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.<ref name="LATIMesRamis" /> The pair discussed the core ideas in the script, raising parallels between it and the concepts of Buddhism and reincarnation.<ref name="telegraph interview" /> 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]].<ref name="telegraph interview" /><ref name="LATIMesRamis" />

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{{nbsp}}million, but would let Rubin retain his original concept. Rubin chose to go with Ramis's deal. As expected, the studio wanted changes.<ref name="DOGRubin" />

===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.<ref name="telegraph interview" /> Ramis supervised the rewrite,<ref name="LATIMesRamis" /> tasked with balancing Rubin's desire for originality and the studio's demand for a broad comedy.<ref name="DOGRubin" /> The pair loosely used the [[Kübler-Ross model]] of the five stages of grief—denial, anger, bargaining, depression, and acceptance—as an outline.{{sfn|Gilbey|2004|p=49}}<ref name="LATIMesRamis" /> Ramis imagined himself in Phil's situation and the things he would do and feel if in the same cycle of entrapment.<ref name="LATIMesRamis" /> The pair spent weeks revising the script.<ref name="VultureRubin" /> 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]].<ref name="new yorker" /><ref name="Mentalfloss" /> 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.<ref name="LATIMesRamis" />

Rubin delivered a fresh draft on February 2, 1991.<ref name="DOGRubin" /> He was contractually permitted to write another draft, but the studio had Ramis take over, bringing Rubin's involvement to an end.{{sfn|Gilbey|2004|pp=16–17, 22}} Ramis took Rubin's new draft and began his solo rewrite.<ref name="telegraph interview" /><ref name="DOGRubin" /> 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.<ref name="LATIMesRamis" /> Ramis reorganized the script into a mainstream three-act narrative.<ref name="uproxx rift" /> 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.<ref name="Varietyat25" /><ref name="new yorker" /> 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.<ref name="TheWrapGypsy" />{{sfn|Gilbey|2004|p=16}}

Ramis also removed Rita's boyfriend, Max, and introduced (then removed) Phil's executive producer, Gil Hawley.{{sfn|Gilbey|2004|pp=16–17}} This draft featured more scenes focused on Phil's sexual conquests{{sfn|Gilbey|2004|p=21}} 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.{{sfn|Gilbey|2004|pp=16–17}} 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.{{sfn|Gilbey|2004|p=66}} Phil's [[exposition (narrative)|expositional narration]] was removed as well.<ref name="telegraph interview" />{{sfn|Gilbey|2004|p=16}} 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.{{sfn|Gilbey|2004|p=76}} Where Rubin's original script had been more sermonic and deprecating, Ramis made the tone more optimistic.<ref name="TheWrapGypsy" /><ref name="new yorker" /> Two versions of a scene with Phil and Rita in a diner from Rubin's original script and Ramis's rewrite exemplify the shift of emphasis toward both Phil's smugness and the romantic core of the film:<ref name="Varietyat25" /><ref name="new yorker" />

{{Col-begin}}
{{Col-2}}

<blockquote>
'''Rubin's original script'''{{br}}
'''PHIL''' (voice over) "And me and Rita—together—was the most obvious thing in the world..."<br />
'''PHIL''' "Have you ever felt like you were reliving the same day over and over again?" <br />
'''RITA''' "Like déjà vu?" <br />
'''PHIL''' "More like—déjà, déjà, déjà, déjà..." <br />
'''RITA''' "So, you still think you've been here before?" ''Phil nods.'' <br />
'''RITA''' "And how does this evening turn out?" <br />
'''PHIL''' "I'll tell you what I do know. Even in a day as long as this, even in a lifetime of endless repetition, there's still room for possibilities."<ref name="new yorker" />
</blockquote>

{{Col-2}}

<blockquote>
'''Ramis's rewrite'''{{br}}
'''PHIL''' "What are you looking for? Who's your perfect guy?"<br />
'''RITA''' "Well. First of all, he's too humble to know he's perfect." <br />
'''PHIL''' "That's me."  <br />
'''RITA''' "He's intelligent, supportive, funny." <br />
'''PHIL''' "Intelligent, supportive, funny. Me, me, me." <br />
'''RITA''' (thinking) "He's romantic and courageous."  <br />
'''PHIL''' "Me, me also." <br />
'''RITA''' "He has a good body but he doesn't have to look in the mirror every two minutes."  <br />
'''PHIL''' "I have a great body and I never look at it." <br />
'''RITA''' "He's kind and sensitive and gentle and considerate. And he's not afraid to cry in front of me." <br />
'''PHIL''' "This is a man we're talking about, right?"<ref name="new yorker" /> 
</blockquote>
{{Col-end}}

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.<ref name="DOGRubin" /><ref name="new yorker" />{{sfn|Gilbey|2004|pp=16–17}} The studio was happier with Ramis's draft, believing that his changes made it more appealing to audiences.<ref name="DOGRubin" /> 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.{{sfn|Gilbey|2004|p=22}}

The studio refused to [[green-light|greenlight]] the project without making explicit why Phil becomes trapped.<ref name="telegraph interview" /><ref name="TheWrapGypsy" /> 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."<ref name="TheWrapGypsy" /> 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.<ref name="TheWrapGypsy" /> 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.<ref name="TheWrapGypsy" />

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.<ref name="DOGRubin" /><ref name="new yorker" /> 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.<ref name="PhillyPunxVisit" /><ref name="morning call" /> They then spent weeks working together in New York City revising the script.<ref name="VultureRubin" />{{sfn|Gilbey|2004|pp=22–23}} Rubin found Murray's more laid-back approach to writing "frustrating."{{sfn|Gilbey|2004|p=23}} They were still working on the script a month before filming began, bringing it back closer to Rubin's original.<ref name="DOGRubin" />

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.<ref name="DOGRubin" /><ref name="telegraph interview" /> Rubin recommended that they not include any references to the 1990s or any specific period to allow it to remain timeless.{{sfn|Gilbey|2004|p=23}}<ref name="TheGuardianDirectors" /> Rubin has said that the final film largely resembles his script.<ref name="LATIMesRamis" /> 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.{{sfn|Gilbey|2004|p=73}} 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.<ref name="DOGRubin" /><ref name="LATIMesRamis" /> Although the script was complete, it continued to undergo changes during filming.<ref name="SeattleTimes" /><ref name="NorthWestHerald" />

===Casting===
[[File:Chris Elliott by Gage Skidmore (cropped).jpg|thumb|upright|alt=A smiling man wearing glasses and a cap. |[[Chris Elliott]] (pictured in 2011) portrays Larry the cameraman.]]
For the role of Phil Connors, [[Chevy Chase]], [[Tom Hanks]], and [[Michael Keaton]] were also considered.<ref name="DeadlinePrice" /><ref name="Hollywoodreporterhanks" /><ref name="BusiInsideKeaton" /> 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.<ref name="Hollywoodreporterhanks" /><ref name="BusiInsideKeaton" /> Phil was written as a younger man, but this was changed when it was determined that the appropriate comic actors were all older.{{sfn|Gilbey|2004|p=15}}

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 (film)|Meatballs]]'' (1979), ''Caddyshack'', and ''[[Ghostbusters]]'' (1984).<ref name="new yorker" /><ref name="uproxx rift" /> 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.<ref name="TheWrap" /> Rubin wanted [[Kevin Kline]] for the part, believing Murray did not have the necessary acting ability.{{sfn|Gilbey|2004|p=26}} 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."<ref name="TheWrap" />

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.<ref name="TheWrap" /> Singer [[Tori Amos]] was also considered for the role.<ref name="IndieWire" />

Tobolowsky was hired after delivering an "overwhelmingly obnoxious" portrayal during his audition.{{sfn|Gilbey|2004|p=36}} 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.<ref name="AVClubShannon" /> 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.<ref name="Mentalfloss" /><ref name="PhillyBeast" /> The groundhog itself was not specially bred for use on film and was trapped in the wild near Illinois a few weeks before filming.<ref name="morning call" />
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===Preproduction===
[[File:Gobblers Knob - Punxsutawney, Pennsylvania (7086949891).jpg|thumb|left|The real Gobbler's Knob in [[Punxsutawney, Pennsylvania]] (2012)]]

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 period.<ref name="Varietyat25" /> 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.<ref name="Varietyat25" /><ref name="morning call" /> Punxsutawney was also too isolated from the necessary amenities. The rural town was nearly {{convert|80|mi}} from [[Pittsburgh]], the nearest large city and did not offer sufficient accommodation for the entire cast and crew.<ref name="morning call" /><ref name="AboutPittsburgh" />

As a Chicago native, Ramis enjoyed filming in Illinois and knew the area could meet their needs.<ref name="Varietyat25" /><ref name="morning call" /> 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.<ref name="morning call" /><ref name="AboutPittsburgh" /> 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.<ref name="WoodstockIndependent" />

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.<ref name="morning call" /><ref name="WoodstockIndependent" /> The town even came with a large pothole for Phil to step in.<ref name="Varietyat25" /><ref name="WoodstockIndependent" />

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,<ref name="WoodstockIndependent" /> recreating it to scale with detailed notes and videos,<ref name="Varietyat25" /><ref name="morning call" /><ref name="AboutPittsburgh" /> 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.<ref name="WoodstockIndependent" /> 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.<ref name="ChicagoTribunePremiere" />

===Filming===
[[File:Groundhog day tip top bistro.jpg|thumb|Tip Top Bistro, established at the site of the fictional Tip Top Cafe in Woodstock]]

[[Principal photography]] began on March 16, 1992, and concluded on June{{nbsp}}10, after 86 days.<ref name="TCM" /> The budget was reported to be between $14.6{{nbsp}}million and $30{{nbsp}}million.<ref name="VarietyBudget" /><ref name="morning call" /><ref name="TheNumbers" /> Filming took place mainly in Woodstock, as well as on sets in [[Cary, Illinois]], and [[Hollywood, Los Angeles|Hollywood]].<ref name="morning call" /><ref name="PennLive" />

Weather conditions varied considerably during filming. Much of the shoot was conducted in conditions described as frigid and bitterly cold.<ref name="Varietyat25" /> Murray estimated that it was often {{convert|20|F|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.<ref name="morning call" /> 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.<ref name="AVClubShannon" /> 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.<ref name="Varietyat25" /> Weather conditions were a major factor in a two-week shoot for the car crash scene.<ref name="JournalStandard" />

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.<ref name="Varietyat25" /><ref name="ReadersDigest" /> Murray was also in the middle of a divorce from Margaret Kelly.<ref name="LATIMesRamis" /> He was reportedly miserable throughout filming, demonstrated erratic behavior, threw tantrums, and often contradicted Ramis's decisions.<ref name="uproxx rift" /><ref name="ReadersDigest" /> Ramis said that Murray constantly showed up late to set, calling his behavior "just irrationally mean and unavailable."<ref name="ReadersDigest" /> The two also disagreed about the script and other actors' performances.<ref name="LATIMesRamis" /> Shannon recounted how he believed he had upset Murray during an encounter. When Ramis heard about this, he made Murray publicly apologize to Shannon.<ref name="AVClubShannon" /> 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.<ref name="NorthWestHerald" />

[[File:Wdstckoperahouse1.JPG|thumb|left|The Woodstock Opera House served as both the exterior of Rita's hotel and the scene of one of Phil's suicides.]]
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.<ref name="SeattleTimes" /><ref name="NorthWestHerald" />

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.<ref name="Varietyat25" /> For another scene, Murray asked MacDowell to really slap him, and Ramis instructed the children Murray confronts in a snowball fight to throw hard.<ref name="TheWrap" /><ref name="ReadersDigest" /> During the scene in which Phil drives off with Punxsutawney Phil, the groundhog bit Murray on the knuckle. Although Murray was wearing gloves, the bite broke the skin. During a later take, the groundhog bit him again, in the same spot.<ref name="PhillyBeast" /><ref name="Mentalfloss" />

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.<ref name="Varietyat25" /> 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."<ref name="Varietyat25" /> 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."{{sfn|Gilbey|2004|pp=80–81}}

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.<ref name="PennLive" /><ref name="LocationHub" /> The Cherry Street Inn was a private residence; the interior was shot on a set.<ref name="PennLive" /> Woodstock City Lanes was used for the bowling alley scene.<ref name="LocationHub" /> 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.<ref name="LocationHub" /><ref name="HuffPoCafe" /> The bachelor auction where Phil demonstrates his personal transformation was filmed at the Woodstock Moose Lodge.<ref name="PennLive" /><ref name="LocationHub" /> The shots of Murray being nearly run over by a train were filmed at the nearby [[Illinois Railway Museum]].<ref>{{cite web |title=Chicago Burlington & Quincy 504 |url=https://www.irm.org/player/cbq504/ |website=Roster of Equipment |publisher=Illinois Railway Museum |access-date=18 August 2024}}</ref><ref>{{cite web |title=Press and Filming |url=https://www.irm.org/press-page/ |publisher=Illinois Railway Museum |access-date=18 August 2024}}</ref><ref>{{cite web |title=The Museum in the Movies |url=https://www.irm.org/movies/ |publisher=Illinois Railway Museum |access-date=18 August 2024}}</ref> The scene of Phil driving a truck over a cliff was shot in Nimtz Quarry in [[Loves Park, Illinois]], about {{convert|34|mi}} 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.<ref name="JournalStandard" />
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