Editing Groundhog Day (film) (section)

===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" />