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Speaker 1: Too Much Information is a production of iHeartRadio. Hello everyone,

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Speaker 1: and welcome to Too Much Information and the show that

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Speaker 1: brings you the secret histories and little known fascinating facts

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Speaker 1: and figures behind your favorite these music, TV shows and more.

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Speaker 2: Are your two pad footed prognosticators of pedantry, your time

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Speaker 2: loop trapped trivia chasers, your small Pennsylvania towns of small

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Speaker 2: Pennsylvania details.

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Speaker 1: I'm Alex Heigel and I'm Jordan run Talg And today, folks,

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Speaker 1: we're talking about a film that's one of the greatest

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Speaker 1: comedies of all time. Nay, no notes of any time.

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Speaker 1: Well of guys films of all time. Yeah. It's almost

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Speaker 1: a fairy tale about self improvement and rebirth. Yeah, a

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Speaker 1: film that argues you can only escape the rut you

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Speaker 1: find yourself in and seek happiness by letting go of

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Speaker 1: your ego and serving others. Perhaps more importantly, it's a

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Speaker 1: film that elevated an obscure, regional punchline of a hall

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Speaker 1: into a national treasure. That's right, folks, we're talking about

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Speaker 1: Groundhog Day. Whoo. I'm so excited. Yeah. Good. Not sure

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Speaker 1: what we can add to the mountain of assessments. This

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Speaker 1: film has received by minds far better than ours, so

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Speaker 1: we'll just provide this illustrative anecdote. In twenty eighteen, the

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Speaker 1: New York Museum of Modern Art debuted a series of

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Speaker 1: films beginning with groundhog Day, that they chose after polling

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Speaker 1: thirty five literary and religious scholars. The stumbling block where

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Speaker 1: it's getting this project off the ground wasn't really for

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Speaker 1: any reason that you would expect. It was held up

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Speaker 1: because there was conflict between the literary and religious scholars

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Speaker 1: polled because so many of them wanted to be the

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Speaker 1: ones to write about Groundhog Day. I mean, I gotta

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Speaker 1: ask you, did you pick up on all.

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Speaker 3: The undertones of this movie when you watched it, presumably

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Speaker 3: as a kid, because I absolutely did not know.

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Speaker 1: In fact, I didn't watch this when I was a kid.

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Speaker 1: This was like not one of our like weird family

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Speaker 1: like Caddy Check for sure, Vacation Ghostbusters was the big

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Speaker 1: one for me. But like, I don't think I came

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Speaker 1: to this until I was like a teen and then

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Speaker 1: and then I was like suspected that there was a

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Speaker 1: lot going on under the hood, but no, not really

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Speaker 1: until I was an adult was I was like, he's

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Speaker 1: trapped in the Bardo, you know, like this all this

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Speaker 1: all the philosophy and religious stuff that goes into it

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Speaker 1: so well.

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Speaker 3: I mean no, I mean there are movies like The

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Speaker 3: Big Lebowski that I feel like, from the moment it

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Speaker 3: was released, this whole mythology grew up and around it,

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Speaker 3: and I remember books were written about it and just

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Speaker 3: all this stuff and T shirts and it just became

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Speaker 3: this thing that you were sort of, at least for

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Speaker 3: people of our age, were supposed to sort of study.

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Speaker 3: And that just wasn't the case for this movie at

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Speaker 3: all to my knowledge. Until I literally went to film

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Speaker 3: school and was instructed to study it. I had lumped

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Speaker 3: it in with nineties comedies with maturing comedians like Steve

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Speaker 3: Martin and Father of the Bride or Eddie Murphy and

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Speaker 3: the Nutty Professor or some Dan Aykroyd thing. I just

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Speaker 3: I didn't think of it as anything special other than

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Speaker 3: just a good movie. And like I said, it really

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Speaker 3: wasn't until I went to film school, but it was

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Speaker 3: literally taught in screenwriting one oh one, and my professors

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Speaker 3: just drilled it into our heads that this was a

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Speaker 3: perfect movie, full stop. We had one early assignment in

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Speaker 3: class where we were told to watch groundhog Day and

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Speaker 3: just write out the dramatic beats, and then we brought

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Speaker 3: into class the next day and discussed it.

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Speaker 1: Because it had really occurred to me. It's such a

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Speaker 1: clever illustration of the basic principles of drama, yeh, which

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Speaker 1: you know is kind of not all that different from

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Speaker 1: the old comedy rule of three. It's status quo is established,

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Speaker 1: then the hero is taken outside of his comfort zone

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Speaker 1: and undergoes a transformation, and then he returns at the

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Speaker 1: end of the movie a changed person. And Groundhog Day

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Speaker 1: is so clever because everything remains the same in this

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Speaker 1: movie except the person. It's so great. Yeah, I mean,

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Speaker 1: it's such a funny. It's like, what do you do

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Speaker 1: in the hero's journey when, like, how does the hero's

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Speaker 1: journey change when the hero does not go on a

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Speaker 1: journey at all. It's so great.

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Speaker 3: I know that I only have like four frames of

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Speaker 3: reference for everything in my life, and I know I

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Speaker 3: just read ahead and I got so mad that you

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Speaker 3: did this, so I.

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Speaker 1: Know, I'm sorry. Well give me a minute.

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Speaker 3: I mean, I liken groundhog Day to the music of

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Speaker 3: the Beach Boys.

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Speaker 1: Hear me out, hear me out. It's something that we

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Speaker 1: all sort of grew up with, and on the surface

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Speaker 1: it seems kind of quaint and a little hoky, But

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Speaker 1: then the more you look at it, you see how

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Speaker 1: complex in borderline genius it is. And you also you

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Speaker 1: start to pick up on the darkness and the sadness

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Speaker 1: beneath it, you know, I mean, much like learning about

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Speaker 1: the pain and darkness behind the music of the Beach Boys,

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Speaker 1: like Brian Wilson's a bordered attempt to compose his teenage

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Speaker 1: Symphony to God, which was this herculean task that nearly

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Speaker 1: killed him. You learn about the making of groundhog Day

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Speaker 1: and just the deep existential dread at its heart, and

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Speaker 1: you know it was very nearly this insanely dark movie

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Speaker 1: where Bill Murray was trapped in the small Pennsylvania town

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Speaker 1: for ten thousand years, and then you get all the

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Speaker 1: behind the scenes worries about how he was fighting with

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Speaker 1: Harold Ramis, one of his best friends, and children and

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Speaker 1: fighting with children. Yeah, just the number of people's sanity

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Speaker 1: this movie cost. It's stick. I don't know.

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Speaker 3: I just find it so fascinating, both as a piece

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Speaker 3: of art and the story behind it.

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Speaker 1: Well, from the convoluted writing process that involved firing and

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Speaker 1: then rehiring the original writer to the real life pain

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Speaker 1: animating Bill Murray's performance to his split from longtime collaborator

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Speaker 1: Harold ramis precipitated by this film to whatever the hell

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Speaker 1: groundhog punch is. Oh, here's everything you didn't know about

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Speaker 1: groundhog Day. We should just start punching in the am,

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Speaker 1: all right, that's rules, dude. Kenny Loge's fus Yeah, yes

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Speaker 1: he does. I forget did you in give you him

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Speaker 1: or messina? I always got him? And John Oh's confused.

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Speaker 1: It's the mustache. I don't think anyone cares about poor

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Speaker 1: John Oates. I know, not even Darrel at this point.

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Speaker 1: It's just a little definiteatical say, definitely not Darrel.

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Speaker 3: He's filled out a restraining order, right, but onto happier topics, Yeah,

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Speaker 3: groundhog Day. Groundhog Day was written by a guy named

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Speaker 3: Danny Rubin. After moving to la to pursue his screenwriting dreams,

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Speaker 3: he found himself sitting in a theater in the early

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Speaker 3: nineties waiting for a movie to start in the past

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Speaker 3: the time, he pulled out his copy of Anne Rice's

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Speaker 3: The Vampire lestat As one does. I guess and you

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Speaker 3: know because vampires are immortal, if I recall correctly. He

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Speaker 3: started mulling over the idea of immortality, and he went

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Speaker 3: down various tangents that one would in what you describe

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Speaker 3: as a winding, bong ripping discussion about the topic what

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Speaker 3: you would do with your time if you are immortal,

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Speaker 3: and how you would change over time if eternal life

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Speaker 3: would then suddenly become boring or pointless, which I think

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Speaker 3: is a topic that was discussed in the Robin Williams

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Speaker 3: movie by Centennial Man.

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Speaker 1: And also Highlander. Better movie, but in Highlander they solved

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Speaker 1: it by cutting each other's heads off. So again, like

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Speaker 1: I said, better movie, a better movie. Yeah.

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Speaker 3: Danny Rubin the Rter thought about men living their lives

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Speaker 3: in a state of perpetual adolescent arrested development, thinking, as

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Speaker 3: he recalled in twenty ten, there are some people those

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Speaker 3: arrest of development type men who can't really outgrow their adolescence.

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Speaker 3: And I thought, well, maybe one lifetime isn't enough, Maybe

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Speaker 3: you need more. Thus inspired, he started working an idea

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Speaker 3: about a man slowly changing over the course of his

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Speaker 3: eternal life, and as he fleshed out the concept, he

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Speaker 3: soon realized that the idea wasn't very practical as a movie,

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Speaker 3: solely because of the intricacies and expenses of both depicting

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Speaker 3: historical events and then also imagining a future for the

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Speaker 3: protagonist whose life extends over many, many centuries.

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Speaker 1: Which that's why we'll never get Nick Cave's awesome pitch

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Speaker 1: for Gladiator two, where Maximus goes to Hell, fights his

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Speaker 1: way out of Hell, and then is like an eternal

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Speaker 1: immortal soldier who we see him fighting through like every

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Speaker 1: historically significant war. It was like Nick Cave literally wrote

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Speaker 1: that as a screenplay. It's like flow, Oh, you wrote

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Speaker 1: the screenplay. Yeah, that was his pitch for it. You

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Speaker 1: can see it like float. He's written other stuff, but

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Speaker 1: that actually got made. But that was like the coolest

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Speaker 1: idea ever that we'll never see. I mean, it's so funny.

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Speaker 3: I mean, you got like you think of the cigar

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Speaker 3: chopping executive app immortality too expensive, immortality sounds expensive. Other

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Speaker 3: influences on this nascent groundhog the idea for Danny almost

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Speaker 3: a Danny Elfman for Danny Rubin include the short story

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Speaker 3: Christmas every Day, which was written in eighteen ninety two

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Speaker 3: by William Dean Howlas, which I'm not familiar with, and

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Speaker 3: also the works of Friedrich Nietzsche, which we'll get to later.

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Speaker 3: So he's thinking, Okay, like we said, immortality, Nah, it

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Speaker 3: doesn't really translate to the big screen. So then he

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Speaker 3: recalled the short story outline that he written two years earlier,

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Speaker 3: but followed a man who woke up every morning to

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Speaker 3: find out that he was trapped in the same day

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Speaker 3: over and over again. And in what you describe as

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Speaker 3: a genius marriage of convenience, Rubin stuck the two ideas together,

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Speaker 3: which he felt solved two problems at once. By portraying

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Speaker 3: eternity as a repeating cycle instead of a continuous progression

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Speaker 3: of linear time, he eliminated the production costs of constantly

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Speaker 3: changing settings throughout history, and he also believed that the

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Speaker 3: repetitive structure would offer more dramatic and comedic possibilities. Because,

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Speaker 3: as you note, comedy works in threes.

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Speaker 1: What would your hell be being trapped in the same

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Speaker 1: day or just being forced to live forever as time

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Speaker 1: goes around you?

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Speaker 3: Ooh, because I guess if you're forced to live forever,

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Speaker 3: you have to say, I mean, I think about being

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Speaker 3: in New York for almost twenty years and saying goodbye

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Speaker 3: to both places that I've loved and people who've moved away.

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Speaker 1: And how sad that's been. So I guess the city

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Speaker 1: banks that have closed that you've missed, you know Whoopi

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Speaker 1: Goldberg lives in New Jersey. Now I know it's been

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Speaker 1: very hard for you you moved away, So I I

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Speaker 1: guess that's pretty sad. But I guess it would be

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Speaker 1: invigorating to see the changes and you you know, every

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Speaker 1: day would be different as opposed to's just the mind

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Speaker 1: dulling boredom of having every day being exactly the same.

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Speaker 1: But at least you'd have the comfort. I'd choose the

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Speaker 1: time loop. You choose the time loop. There's just fewer

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Speaker 1: logistical problems because if you live forever, what do you

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Speaker 1: got to You gotta like set up bank accounts to

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Speaker 1: like keep falsifying documents to become your own son and

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Speaker 1: your own air Like how do you you know? How

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Speaker 1: do you how do you go to the DMV?

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Speaker 3: Like when you know, do you get captured by like

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Speaker 3: guys in white coats at Johns Hopkins once they realize

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Speaker 3: that you're just not dying?

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Speaker 1: And did they put you in like a little glass

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Speaker 1: cage and study of yeah, like how do you like

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Speaker 1: like if you get if you get like mortally injured,

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Speaker 1: you know, but but you know you are still immortal,

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Speaker 1: Like but you're like, well, I need to get my

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Speaker 1: hand has been cut off or something like, I need

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Speaker 1: to get this dealt with. And they go there and

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Speaker 1: they like take your blood test and they're like, something's

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Speaker 1: off here, and then the government comes for you. You know,

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Speaker 1: if you're stuck in a time loop, at least you know,

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Speaker 1: you know, I have twenty four hours to do whatever

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Speaker 1: I want to do without Oh I hadn't thought about that,

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Speaker 1: the consequence free element. Oh that's good. Yeah. Yeah, otherwise

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Speaker 1: you'd wind up like the kid in Et, Like you'd

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Speaker 1: be in like some like like clean room for the

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Speaker 1: rest of your life. Probably. Yes, this is why we're screenwriters.

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Speaker 1: Sound of bong water bubbling, Yeah, yeah, exactly. These are

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Speaker 1: second bong rip ideas, though these are the first. Yeah,

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Speaker 1: they are ideas. Yes, they are.

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Speaker 3: So seeking a day to ensnare his hero and Danny

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Speaker 3: Ruben initially wanted to set the film on February twenty ninth,

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Speaker 3: which I think will be the day we end up

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Speaker 3: dropping this episode. I didn't think about that. This owed

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Speaker 3: to the comic possibilities of a leap year. What day

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Speaker 3: would you would you have set this movie in?

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Speaker 1: I don't know, man, I feel like like the obvious

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Speaker 1: answer to me in terms of mischief would be like

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Speaker 1: Saint Patrick's Day or like some kind of a day

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Speaker 1: that's wow for like public insanity, so you can just

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Speaker 1: go around and get get away with a lot more.

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Speaker 1: But April Fool's Day, does anyone like? Does any I

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Speaker 1: don't know. I have a problem with people who take

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Speaker 1: April fools Day seriously. Yeah, I would say, like Saint

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Speaker 1: Patrick's Day, Maybe New Year's people were like reckless and

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Speaker 1: ridiculous on New Year's you know that That kind of

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Speaker 1: lends it a poignancy of being like, you know forever,

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Speaker 1: you know for you're forever on the cusp of renewal. Yeah, yeah,

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Speaker 1: that's good. Thanks. Not Groundhog Day too, Hog Harder, Groundhog

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Speaker 1: Day two, after the Hog High, on the Hog before,

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Speaker 1: That's that's our sad, That's our sad Link Letter trilogy,

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Speaker 1: before Hog Set, after Hog Set, before Hog Rise.

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Speaker 3: So Danny Ruboud considered putting this movie on leap year,

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Speaker 3: leap Day, leap Day.

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Speaker 1: What are we saying Calbary twenty ninth. You know what

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Speaker 1: I mean. Come on, just keep with me, folks.

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Speaker 3: But then when you looked at the calendar, he settled

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Speaker 3: on the next nearest holiday, February second, Groundhog Day, which

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Speaker 3: I've said, I've pronounced this Groundhog's Day my whole life.

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Speaker 3: It was literally today when I realized that it was singular,

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Speaker 3: So thank you for that. Ruben felt that Groundhog Day

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Speaker 3: worked because well enough people were sort of vaguely aware

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Speaker 3: of it. Like Arbor Day, few people knew that there

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Speaker 3: was actually a whole festival around it in the small

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Speaker 3: Pennsylvania town of punk Satawny, something that Reuben was acquainted

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Speaker 3: with through a prior job he had writing for a

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Speaker 3: local phone company.

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Speaker 1: Which does he mean like writing for phone books? I

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Speaker 1: don't know, promo cop I don't know, dude. You used

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Speaker 1: to be able to get all kinds of jobs writing

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Speaker 1: in this country, That's okay, fair, Yes, yes, yes, print

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Speaker 1: didn't used to be a dead medium.

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Speaker 3: Yes, yes, yes, I didn't realize until recently that they

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Speaker 3: don't have fune books anymore either.

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Speaker 1: We live in hell, but you know we got We're

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Speaker 1: gonna get ai porn out of Sora or whatever, whatever, Yeah,

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Speaker 1: you know whatever. That tweet was this week where a

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Speaker 1: guy was like, imagine coming home and telling your AI

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Speaker 1: that you want to watch Shrek too, but with Brad

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Speaker 1: Pitt voicing Shrek and Travis Kelcey playing Donkey and like

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Speaker 1: mister Beast pops in and like, you know, you see

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Speaker 1: that tweet I did? Yeah, yeah, okay, I mean it

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Speaker 1: kind of sounds like being in screenwriting school. Honestly, it's like,

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Speaker 1: you want to sell a script, this is what you do? Sure, yeah, yeah,

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Speaker 1: it's Groundhog Day but with were wolves. Yeah, that's mine

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Speaker 1: kind of would. I had a great idea for a

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Speaker 1: script last night, just called Jackie Chan Goes to Hell,

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Speaker 1: where you have Jackie salt right, what happens? Tell me

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Speaker 1: what happens? Jackie Chan is old and uh, you know,

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Speaker 1: dies and goes to Hell as as you know, he

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Speaker 1: could either be Dante's Dante's Hell or as Big Trouble.

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Speaker 1: Old China told us Chinese people got a lot of Hell's,

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Speaker 1: so you know, you basically just get your classic Jackie

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Speaker 1: Chan stunts and fights and you know, high jinks, and

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Speaker 1: he's gonna make some faces at some point and eventually

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Speaker 1: he has to kill the Devil.

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Speaker 3: So is it almost like Jackie chan in that Robin

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Speaker 3: Williams movie yet the second misbegotten nineties Robin Williams movie

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Speaker 3: reference of this episode, Is it like Jackie chan in

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Speaker 3: What Dreams May Come?

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Speaker 1: Yeah? I guess he's some purgatory Okay, yeah, but with

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Speaker 1: more like fighting? Okay? Yeah? Will we fall down a

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Speaker 1: thing with a bunch of light bulbs on it? He

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Speaker 1: sure will? Okay, good, that's my only It's the only

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Speaker 1: thing I wanted my contract. But Danny Rubin, uh, I

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Speaker 1: guess more cynically, he landed on Groundhog Day because he

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Speaker 1: remembered thinking it's a completely unexploited holiday. This is a quote.

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Speaker 1: We can play the movie on TV every year like

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Speaker 1: the Charlie Brown specials. What a Hustler. He likes to

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Speaker 1: front later that he wasn't part of the Hollywood machine.

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Speaker 1: But that is a Hollywood exec justification if I've ever

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Speaker 1: heard one. Ironically, Danny Rubin had no further expectations for

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Speaker 1: Groundhog Day besides being a calling card script. He had

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Speaker 1: already sold a screenplay for the thriller Here No Evil,

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Speaker 1: which was a negatively reviewed flop, which is only interesting

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Speaker 1: in Restrospect because it starred Martin Sheen and Marley Maitlin,

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Speaker 1: who'd reunite on the West Wing later. But his agent

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Speaker 1: suggested that he write another screenplay just to grab attention

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Speaker 1: and get him meetings, which is sort of a semi

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Speaker 1: common practice for young screenwriters. I remember being told this

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Speaker 1: a lot in school.

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Speaker 3: A lot of genuinely good scripts don't get greenlit in

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Speaker 3: Hollywood just for logistical reasons, like we were talking about

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Speaker 3: earlier with Nick Cave's amazing Gladiator Too, the Immoral Gladiator script.

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Speaker 3: I was often told when I would finish scripts for

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Speaker 3: school that my scripts worked on paper, which was code

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Speaker 3: for you know, be really hard to translate it to

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Speaker 3: a visual medium without gargantuan costs. So a lot of

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Speaker 3: young writers who haven't had their individuality beaten out of

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Speaker 3: them would sometimes submit scripts that they sensed wouldn't really

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Speaker 3: ever get made, but it was just to show off

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Speaker 3: their unique voice and individuality, which would result in meetings

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Speaker 3: for other projects that they would sometimes get assigned. I'm

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Speaker 3: pretty sure there's a list of famous Ish screenwriters who

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Speaker 3: got their big breaks this way by submitting calling card scripts.

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Speaker 3: But I don't feel like putting it together and speaking

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Speaker 3: like not feeling like it. Heigel tell us about the

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Speaker 3: history of Groundhog Day all of that, so you know,

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Speaker 3: Ricky Jervais voice like groundhogs in it. A cursory Internet

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Speaker 3: search will turn up a bunch of articles claiming that

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Speaker 3: groundhog Days descended from a European Christian holiday called candle Mass,

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Speaker 3: which is true that occurs at the halfway point between

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Speaker 3: the winter solstice and the spring equinox, and a lot

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Speaker 3: of people will make the connection with that and a

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Speaker 3: pagan holiday called Imbulk, which is I think Celtic, And

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Speaker 3: so there's a lot of stuff on the Internet that's.

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Speaker 1: Like, did you know what groundhog do? Is to send

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Speaker 1: it from a pagan holiday. Candle Mouse's Christian roots come

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Speaker 1: from the point in Jesus's life when Mary and Joseph

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Speaker 1: presented him at the Temple of Jerusalem, and supposedly part

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Speaker 1: of candle Mass Christian superstition lore was that if there

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Speaker 1: were sunny skies that day, a stormy and cold second

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Speaker 1: half of winter was in store for you, while cloudy

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Speaker 1: skies on candle Mass signified approaching warm weather.

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Speaker 3: This makes me feel a lot better because my whole

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Speaker 3: life I was confused why the groundhog seeing its shadow

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Speaker 3: meant six more weeks of winter because a shadow means

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Speaker 3: it's sunny, and you would think that means that winter's

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Speaker 3: easing up and you've got spring on the way. So

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Speaker 3: I guess I still don't have an explanation, but I

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Speaker 3: feel better knowing that it's ancient and therefore doesn't have

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Speaker 3: to make sense.

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Speaker 1: I mean, but if that's the first inconsistency you uncover

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Speaker 1: in Christianity doing for the long hard road. So when

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Speaker 1: this expanded into Europe, specifically Germany, that lore was broadened

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Speaker 1: to include animals and their shadows. Various people will claim

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Speaker 1: that they were using things like hedgehogs and also badgers,

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Speaker 1: which is amazing. Can you imagine badger Day? That's just

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Speaker 1: like a big feral badger. However, I did find at

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Speaker 1: least one person, A Brandeis grad student in history, at

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Speaker 1: her blog Tales of Times Forgotten, claims that this is

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Speaker 1: all horsesh. She writes that while groundhog Day does originate

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Speaker 1: from Candle Mass, there is little historical effort to suggest

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Speaker 1: that Candle Mass had anything to do with Imbulk. In Bulk,

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Speaker 1: she says, is only mentioned in Old Irish literature. In

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Speaker 1: the tenth century AD, as opposed to candle Mass, which

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Speaker 1: can be found in Old Latin texts as old as

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Speaker 1: the fourth century AD. She continues, candle Mass was first

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Speaker 1: celebrated by Christians living in the Roman Empire in late entiquity,

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Speaker 1: whereas in Bulk has historically been celebrated by Gaelic speaking

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Speaker 1: peoples in Ireland and Scotland, neither of which was part

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Speaker 1: of the Roman Empire in the fourth century. It's hard

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Speaker 1: to imagine why Christians and the Roman Empire would be

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Speaker 1: copying a holiday from Gaelic speaking Pagans, from what they

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Speaker 1: would have seen as the distant outskirts of the known world.

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Speaker 1: So there's that. Now you get to ruin people's trivia

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Speaker 1: when they say, do you know groundhol Day is actually

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Speaker 1: descended from a pagan holiday holding, oh, which is just

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Speaker 1: a great thing to feel I've been doing in my

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Speaker 1: whole life. I'm clearly the picture of happiness. So you know,

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Speaker 1: Sally Forth, my bitter young trivia pals. Anyway, when the

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Speaker 1: Pennsylvania Dutch got their grubby little fingers into that corner

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Speaker 1: of the world, a little pale, bony fingers, yeah, expanding

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Speaker 1: candle Mass and the weather predicting animals to the Keystone State.

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Speaker 1: They ran into the problem of not having badgers or

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Speaker 1: hedgehogs around. One thing they did have, though, were groundhogs,

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Speaker 1: so consequently the earliest mention of groundhog Day is a

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Speaker 1: diary entry from February eighteen forty by a Welsh guy

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Speaker 1: from Morgantown, PA, commenting on this weird thing his German

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Speaker 1: neighbors were up to. It's re enacting the opening of

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Speaker 1: The Lion King with a crownhog. Yeah, it was just

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Speaker 1: like we I just like the idea of him like

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Speaker 1: sort of peering his head out of his house. He's like, Yeah,

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Speaker 1: the Lieberschnitzys are doing something really weird. The first reported

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Speaker 1: news of the holiday was supposedly made by the Pucksatawni

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Speaker 1: spirit of Punkstani, Pennsylvania in eighteen eighty six, with the

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Speaker 1: holiday being made official the following year thanks to climber Freez,

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Speaker 1: the paper's city editor. After the inaugural event, sightseers gathered

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Speaker 1: around at the Yes that is what it's really called

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Speaker 1: Gobbler's Knob for a feast made of various groundhog based

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Speaker 1: dishes and something called groundhog punch. That last thing, which

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Speaker 1: is made from vodka, milk and orange juice, was said

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Speaker 1: to add seven years to Phil's life and was forcibly

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Speaker 1: poured down the animal's throat once they caught him. It

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Speaker 1: gets grosser. Don't worry. Groundhog was such a treat in

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Speaker 1: Punk Satani at the time that the Philadelphia Inquirer reported

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Speaker 1: that wood chuck steak was the quote gastronomical climax of

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Speaker 1: a banquet held in honor of then Pennsylvania Governor Edward

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Speaker 1: Stewart in nineteen oh nine. Gobblers notb isn't that a

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Speaker 1: three six Mafia song? Well done? Wait, I have a

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Speaker 1: question for you. Go on, you say the groundhogs that

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Speaker 1: was made an official holiday by the editor of the

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Speaker 1: Punk Satani Spirit newspaper. Yeah, and people latched onto it. Dude,

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Speaker 1: there's whole society. There's like an official society. There's all

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Speaker 1: the It's like the Masons. Man. Oh, we were editors

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Speaker 1: of a much bigger outlet. Can we just create holidays? Well,

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Speaker 1: you know, papers used to have power. We should have

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Speaker 1: a holiday. You should make Badger Day. We should have

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Speaker 1: a holiday, and we should make Bassard Day. Badger Day

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Speaker 1: is every day of the year. In my heart, Incidentally,

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Speaker 1: the rodents full title given to him in eighteen eighty

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Speaker 1: six is punk Satanni, Phil, Seer of Seers, Sage of Sages,

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Speaker 1: Prognosticator of Prognosticator, and weather Profit Extraordinary. Funnily enough, a

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00:23:11,200 --> 00:23:13,920
Speaker 1: few states use their own groundhogs to celebrate the holiday

428
00:23:14,000 --> 00:23:18,560
Speaker 1: rather than relying on Phil, including General bo Lee of Atlanta, Georgia,

429
00:23:18,880 --> 00:23:23,120
Speaker 1: Sir Walter Wally from Raleigh, North Carolina, and Birmingham Bill

430
00:23:23,280 --> 00:23:25,960
Speaker 1: from Birmingham, Alabama. How many of those groundhogs do we

431
00:23:26,000 --> 00:23:31,440
Speaker 1: think are racist? Yeah, you're telling me. You know, his

432
00:23:31,520 --> 00:23:34,080
Speaker 1: shadow doesn't count if he sees his shadow from underneath

433
00:23:34,080 --> 00:23:38,320
Speaker 1: a burning cross, right. Oh wow. The National Climatic Data

434
00:23:38,400 --> 00:23:42,080
Speaker 1: Center compared US national temperatures from nineteen eighty eight to

435
00:23:42,119 --> 00:23:45,359
Speaker 1: twenty twelve to determine the accuracy of Phil's predictions, and

436
00:23:45,480 --> 00:23:48,719
Speaker 1: that little idiot has an accuracy rate of thirty nine percent,

437
00:23:49,240 --> 00:23:51,679
Speaker 1: or less than what he would get if you were

438
00:23:51,760 --> 00:23:54,439
Speaker 1: just flipping a coin. However, that's better than a lot

439
00:23:54,440 --> 00:23:57,680
Speaker 1: of people's batting averages in the major leagues. So maybe

440
00:23:58,040 --> 00:24:01,360
Speaker 1: the sie they're actually doing something and he gets true

441
00:24:01,640 --> 00:24:05,040
Speaker 1: he is not. Uh, perhaps we would do well to

442
00:24:05,119 --> 00:24:07,479
Speaker 1: heed the suggestion of the People for the Ethical Treatment

443
00:24:07,520 --> 00:24:11,000
Speaker 1: of Animals or PETA, who have called now at least

444
00:24:11,080 --> 00:24:15,920
Speaker 1: twice to replace Phil with an animatronic groundhog for a

445
00:24:16,040 --> 00:24:22,240
Speaker 1: cruelty free holiday that gives me PTSD to run down.

446
00:24:22,359 --> 00:24:25,920
Speaker 1: Chuck E. Cheese is in my Massachusetts suburb. Who gives

447
00:24:26,000 --> 00:24:29,840
Speaker 1: a shit? Just let him who cares? Nothing matters at

448
00:24:29,880 --> 00:24:33,639
Speaker 1: this point, man, just make it a robot groundhog. It

449
00:24:33,720 --> 00:24:36,320
Speaker 1: doesn't matter because then uh then old then old Uh

450
00:24:36,840 --> 00:24:38,879
Speaker 1: you know, build a Blasio can kill as many of

451
00:24:38,960 --> 00:24:41,359
Speaker 1: them as he wants, are yea, what happened? They just

452
00:24:41,480 --> 00:24:43,159
Speaker 1: dropped it. Yeah it was in New York. I mean

453
00:24:43,200 --> 00:24:46,080
Speaker 1: it must have been a Staten Island. Chuck. Come on right, Oh,

454
00:24:46,520 --> 00:24:49,520
Speaker 1: we didn't mention Staten Island, Chuck. No, no, we didn't.

455
00:24:49,560 --> 00:24:53,880
Speaker 1: This is about Pennsylvania. Staten Island. Staten Island's been living

456
00:24:53,920 --> 00:24:57,520
Speaker 1: too well for far too long. I'm taking them to task.

457
00:24:58,240 --> 00:25:00,840
Speaker 1: Yeah for the un for the unfamili Uh. Build de

458
00:25:00,880 --> 00:25:03,760
Speaker 1: Blasio was doing this the same the Groundhog Day at

459
00:25:04,280 --> 00:25:07,640
Speaker 1: Staten Island, which you know, their groundhog's name is Staten Island. Chuck,

460
00:25:07,680 --> 00:25:09,800
Speaker 1: and the little bastard wriggled his way out. Old Bill's

461
00:25:09,840 --> 00:25:12,840
Speaker 1: hands and fell and then died later. I didn't know

462
00:25:12,880 --> 00:25:16,240
Speaker 1: he died. Yeah, requiem in terror packs and so forth.

463
00:25:16,720 --> 00:25:18,840
Speaker 1: He's probably in hell, though he's in Staten Island. He's

464
00:25:18,840 --> 00:25:20,119
Speaker 1: almost assuredly racist.

465
00:25:20,800 --> 00:25:22,880
Speaker 3: I'm just imagining if he was used for some kind

466
00:25:22,880 --> 00:25:26,920
Speaker 3: of like bizarre like monster signal. It's like left on somebody,

467
00:25:27,040 --> 00:25:29,440
Speaker 3: like left on build a Blasio's doorstep, or is bad

468
00:25:29,560 --> 00:25:30,280
Speaker 3: or something.

469
00:25:31,119 --> 00:25:34,000
Speaker 1: Like the Teamsters Union leaves a dead dead groundhog. That'd

470
00:25:34,000 --> 00:25:41,200
Speaker 1: probably the Landscapers Union, Big Phil Phil, Big Phil ratted

471
00:25:41,240 --> 00:25:42,960
Speaker 1: on us. Now he digs with the groundhogs.

472
00:25:47,000 --> 00:25:49,200
Speaker 3: We're gonna take a quick break, but we'll be right

473
00:25:49,280 --> 00:25:51,840
Speaker 3: back with more too much information in just a moment.

474
00:26:08,359 --> 00:26:11,720
Speaker 3: Back to the film ground Hog Day, Danny Rubin spent

475
00:26:11,920 --> 00:26:14,960
Speaker 3: eight weeks working on the script. Seven of those eight

476
00:26:15,040 --> 00:26:18,359
Speaker 3: weeks were making notes to define the rules and characters

477
00:26:18,520 --> 00:26:21,840
Speaker 3: that inhabit this world, and only one week writing the script,

478
00:26:22,680 --> 00:26:25,800
Speaker 3: which is devastating to me as somebody who's spent eight

479
00:26:25,880 --> 00:26:30,320
Speaker 3: years plugging away to script. The whole time he was writing,

480
00:26:30,359 --> 00:26:32,800
Speaker 3: he was struggling to figure out why the time loop

481
00:26:32,840 --> 00:26:36,600
Speaker 3: had happened, and trying out all manner of technological magical

482
00:26:36,680 --> 00:26:42,000
Speaker 3: and celestial options to why this happened, why this occurred. Ultimately,

483
00:26:42,080 --> 00:26:44,920
Speaker 3: he considered the exact cause of the time loop immaterial

484
00:26:45,240 --> 00:26:47,560
Speaker 3: and felt that the lack of explanation added to the

485
00:26:47,640 --> 00:26:51,359
Speaker 3: stories themes, saying, none of us knows exactly how we

486
00:26:51,480 --> 00:26:52,680
Speaker 3: got to be stuck here either.

487
00:26:53,480 --> 00:26:56,560
Speaker 1: David Byrne voice, you may be asking yourself how did

488
00:26:56,640 --> 00:26:59,600
Speaker 1: I get here? He's very frank. Again, this is such

489
00:26:59,640 --> 00:27:03,240
Speaker 1: a small this is not my large land based rodent.

490
00:27:07,440 --> 00:27:11,040
Speaker 1: But as I touched on, as I waxed poetically during

491
00:27:11,119 --> 00:27:16,440
Speaker 1: the intro, the original draft was much much darker. For

492
00:27:16,720 --> 00:27:20,160
Speaker 1: just one of many examples, it opened with Phil already Phil,

493
00:27:20,240 --> 00:27:24,200
Speaker 1: the main character, not the ground hog, I imagine, already

494
00:27:24,240 --> 00:27:26,480
Speaker 1: stuck in the time loop, and he was already predicting

495
00:27:26,520 --> 00:27:28,640
Speaker 1: what the radio hosts would say after his alarm clock

496
00:27:28,720 --> 00:27:31,480
Speaker 1: goes off, and that goes on to interactions with hotel

497
00:27:31,600 --> 00:27:35,200
Speaker 1: guests that will culminate with him attacking a pedestrian outside.

498
00:27:36,320 --> 00:27:38,119
Speaker 1: I think this opening is awesome.

499
00:27:38,240 --> 00:27:40,720
Speaker 3: I think it's really intriguing because everyone watching is going

500
00:27:40,760 --> 00:27:42,399
Speaker 3: to wonder why this guy just went out of his

501
00:27:42,480 --> 00:27:44,840
Speaker 3: hotel or I guess Ben and Breakfast is to attack

502
00:27:44,920 --> 00:27:46,840
Speaker 3: the guy in the street, and why does he know

503
00:27:46,960 --> 00:27:50,399
Speaker 3: exactly what the radio hosts are gonna say? It's really intriguing, right,

504
00:27:50,840 --> 00:27:53,720
Speaker 3: But studio executives felt that the audience would feel cheated

505
00:27:53,760 --> 00:27:56,399
Speaker 3: if they didn't get to see Phil's reaction to discovering

506
00:27:56,480 --> 00:27:59,440
Speaker 3: that he's caught in a time loop, which, as much

507
00:27:59,440 --> 00:28:02,000
Speaker 3: as I hate this with the executives, makes a certain

508
00:28:02,000 --> 00:28:03,800
Speaker 3: amount of sense. It's great to see this sort of

509
00:28:03,840 --> 00:28:04,840
Speaker 3: slowly dawn on them.

510
00:28:04,920 --> 00:28:07,399
Speaker 1: It's it's better for the darker movie that he wanted

511
00:28:07,440 --> 00:28:10,080
Speaker 1: to make. It's not as good for like a family friendly,

512
00:28:10,680 --> 00:28:16,560
Speaker 1: you know, technologically advanced efficient, you know, ninety minute three

513
00:28:16,640 --> 00:28:21,760
Speaker 1: act comedy, Savior in media res, bullshit for film school.

514
00:28:21,840 --> 00:28:23,639
Speaker 1: You know, this is the this is the big leagues.

515
00:28:25,960 --> 00:28:27,680
Speaker 1: Can we beat that? We beat that out of you

516
00:28:27,800 --> 00:28:31,200
Speaker 1: out here? He wants to open it in media res.

517
00:28:31,680 --> 00:28:33,440
Speaker 1: I thought we paid her off already.

518
00:28:35,800 --> 00:28:37,480
Speaker 3: It was like I was saying earlier, this movie is

519
00:28:37,520 --> 00:28:42,400
Speaker 3: a masterpiece disguised as standard fair early nineties fantasy rom com.

520
00:28:42,680 --> 00:28:45,400
Speaker 3: And that was very much not the movie that Danny

521
00:28:45,480 --> 00:28:47,920
Speaker 3: Rubin wanted to make. And as much as I love

522
00:28:47,960 --> 00:28:50,640
Speaker 3: the finished product, I wonder how good this movie might

523
00:28:50,680 --> 00:28:53,560
Speaker 3: have been if they just leaned into it being truly weird,

524
00:28:53,760 --> 00:28:56,360
Speaker 3: like if Michelle Gondry had directed this, how cool that

525
00:28:56,400 --> 00:28:56,720
Speaker 3: would be?

526
00:28:56,920 --> 00:28:58,880
Speaker 1: Yeah? Yeah, I mean they would have been a much

527
00:28:58,920 --> 00:29:01,680
Speaker 1: different film and probably wouldn't have made as much money

528
00:29:01,720 --> 00:29:04,080
Speaker 1: and still be lost in the hearts and minds of everyone.

529
00:29:04,200 --> 00:29:07,680
Speaker 1: But man, I'd have liked it. Yeah.

530
00:29:09,760 --> 00:29:12,240
Speaker 3: And when director Harold Ramis rewrote the script, which we'll

531
00:29:12,240 --> 00:29:14,479
Speaker 3: talk about more in a moment, he added the opening

532
00:29:14,600 --> 00:29:17,720
Speaker 3: for context with Phil at the TV studio doing the

533
00:29:17,800 --> 00:29:21,360
Speaker 3: weather and kind of how he wound up in Punk Satani.

534
00:29:21,120 --> 00:29:21,640
Speaker 1: To begin with.

535
00:29:22,560 --> 00:29:25,560
Speaker 3: Initially, the studio wouldn't even greenlight the script without an

536
00:29:25,600 --> 00:29:28,480
Speaker 3: explanation as to why Phil got stuck in this time loop,

537
00:29:29,200 --> 00:29:32,840
Speaker 3: and so they came up with kind of not great explanations,

538
00:29:32,960 --> 00:29:36,720
Speaker 3: ranging from an ex girlfriend's curse on Phil to a

539
00:29:36,800 --> 00:29:38,760
Speaker 3: scientists malfunctioning machine.

540
00:29:38,840 --> 00:29:40,120
Speaker 1: Ooh, I really don't like that one.

541
00:29:41,440 --> 00:29:43,920
Speaker 3: The studio continued to push for having an explanation for

542
00:29:44,000 --> 00:29:47,000
Speaker 3: the time loop all during production, but Harold Ramis and

543
00:29:47,080 --> 00:29:51,200
Speaker 3: producer Trevor Albert settled on a classic movie making scam.

544
00:29:52,160 --> 00:29:55,560
Speaker 3: They slated the quote explanation scene for the very end

545
00:29:55,600 --> 00:29:58,720
Speaker 3: of the shooting schedule where it was virtually guaranteed to

546
00:29:58,840 --> 00:30:03,200
Speaker 3: never get films because movies always run late, and they

547
00:30:03,280 --> 00:30:06,000
Speaker 3: secretly agreed that even if it was films, they would

548
00:30:06,000 --> 00:30:07,560
Speaker 3: get rid of it in the edit, which is good.

549
00:30:07,600 --> 00:30:09,760
Speaker 1: I like the fact that there's no explanation for oh yeah,

550
00:30:09,760 --> 00:30:11,880
Speaker 1: it makes it so much better. It's so cool. Yeah.

551
00:30:12,400 --> 00:30:14,440
Speaker 3: Danny Rubin said that the comedy beats of the script

552
00:30:14,520 --> 00:30:16,680
Speaker 3: were the easiest to imagine. He said one of the

553
00:30:16,760 --> 00:30:19,280
Speaker 3: earliest scenes he wrote was about Phil using the time

554
00:30:19,360 --> 00:30:22,120
Speaker 3: loop to have sex with women, and another being dedicated

555
00:30:22,160 --> 00:30:24,480
Speaker 3: to seeing how far he could get outside the town

556
00:30:24,560 --> 00:30:27,200
Speaker 3: of punk Satani before the clock reset and he was

557
00:30:27,280 --> 00:30:29,760
Speaker 3: back in his bed at the Bed and Breakfast. Well,

558
00:30:29,800 --> 00:30:32,360
Speaker 3: like I said earlier, Ruben's draft was much darker than

559
00:30:32,400 --> 00:30:35,880
Speaker 3: the film ended up, focusing on Phil's loneliness and allowing

560
00:30:36,000 --> 00:30:39,280
Speaker 3: him to free himself only after realizing that he.

561
00:30:39,360 --> 00:30:42,320
Speaker 1: Could use his situation to better the lives of others.

562
00:30:43,360 --> 00:30:46,440
Speaker 3: Interestingly, the passage of time in this early draft was

563
00:30:46,560 --> 00:30:48,840
Speaker 3: marked explicitly with a really unique device.

564
00:30:49,640 --> 00:30:52,640
Speaker 1: Phil tracks his days by reading one page of a

565
00:30:52,720 --> 00:30:56,360
Speaker 1: book each day in the Bed and Breakfast library, and

566
00:30:56,480 --> 00:30:59,600
Speaker 1: his low point comes when he runs out of books.

567
00:31:00,400 --> 00:31:03,560
Speaker 1: She was there for a hell of a long time. Yeah,

568
00:31:03,640 --> 00:31:05,240
Speaker 1: we'll get on that. We'll get to that, don't you

569
00:31:05,360 --> 00:31:06,200
Speaker 1: folks worry.

570
00:31:06,120 --> 00:31:08,800
Speaker 3: All the people who have calculated the potential amount of

571
00:31:08,880 --> 00:31:11,760
Speaker 3: time he was in this time loop. Apparently in one

572
00:31:11,800 --> 00:31:14,760
Speaker 3: of the early drafts, Phil was stuck in punk Satani

573
00:31:14,840 --> 00:31:19,600
Speaker 3: for something like ten thousand years, So that's horrifying. The

574
00:31:19,680 --> 00:31:22,280
Speaker 3: original ending of this early draft features kind of a

575
00:31:23,280 --> 00:31:24,720
Speaker 3: I think, kind of a corny twist.

576
00:31:25,000 --> 00:31:25,600
Speaker 1: Yeah it sucks.

577
00:31:25,680 --> 00:31:29,160
Speaker 3: Phil confesses his love to the Annie McDowell character, who

578
00:31:29,320 --> 00:31:33,200
Speaker 3: rejects his advances, which is hilarious because the whole movie

579
00:31:33,280 --> 00:31:36,520
Speaker 3: she's been portrayed as this angel type figure. She rejects

580
00:31:36,560 --> 00:31:39,160
Speaker 3: him because she's not ready to accept love, because she's

581
00:31:39,280 --> 00:31:41,040
Speaker 3: trapped in her own time loop.

582
00:31:42,520 --> 00:31:44,840
Speaker 1: I hate that. I hate that a lot. And also

583
00:31:44,920 --> 00:31:47,400
Speaker 1: I think switched perspectives so that she would so this

584
00:31:47,520 --> 00:31:49,480
Speaker 1: was when they still the voiceover in and so she

585
00:31:49,560 --> 00:31:52,720
Speaker 1: would suddenly be narrating the movie, is what I read.

586
00:31:53,680 --> 00:31:55,520
Speaker 1: Oh yeah, horrible.

587
00:31:55,880 --> 00:31:58,720
Speaker 3: I mean that's almost interesting having a movie that's told

588
00:31:58,760 --> 00:32:00,600
Speaker 3: for ninety five percent of it through the voiceover every

589
00:32:00,640 --> 00:32:02,800
Speaker 3: one character, and then had the voiceover sweat. I've never

590
00:32:02,840 --> 00:32:04,920
Speaker 3: heard of that being done. That's kind of cool in

591
00:32:05,040 --> 00:32:06,960
Speaker 3: its own way. I mean, Danny Rubin, I guess he

592
00:32:07,040 --> 00:32:10,960
Speaker 3: really liked to subvert. Yeah, he sure did traditionally. Yeah,

593
00:32:11,000 --> 00:32:12,080
Speaker 3: sure sure did.

594
00:32:13,800 --> 00:32:16,680
Speaker 1: So. Yeah, that twist ending a rare misstep for Danny Rubin.

595
00:32:16,720 --> 00:32:18,560
Speaker 3: I also heard there's a version that was going to

596
00:32:18,680 --> 00:32:21,800
Speaker 3: end with Bill Murray's character killing himself, only to wake

597
00:32:21,880 --> 00:32:24,280
Speaker 3: up and discover that he was back in his own

598
00:32:24,320 --> 00:32:27,040
Speaker 3: bed and the day still wasn't over, which I guess

599
00:32:27,160 --> 00:32:29,959
Speaker 3: means he hadn't tried killing himself the entire movie up

600
00:32:29,960 --> 00:32:32,920
Speaker 3: to that point, or the potential ten thousand years. He

601
00:32:33,000 --> 00:32:35,080
Speaker 3: was stuck in that time loop, which I find hard

602
00:32:35,160 --> 00:32:37,800
Speaker 3: to believe. But that would have been a cool ending

603
00:32:38,000 --> 00:32:41,560
Speaker 3: if they hadn't burned that device earlier in the script

604
00:32:41,760 --> 00:32:43,920
Speaker 3: and he jumped off a cliff or whatever after Anny

605
00:32:44,000 --> 00:32:46,600
Speaker 3: McDowell rejected his advances, and then he just woke up

606
00:32:46,680 --> 00:32:48,480
Speaker 3: back in the bed with the alarm clock going off,

607
00:32:49,120 --> 00:32:50,960
Speaker 3: and then just see him open his eyes and just

608
00:32:51,160 --> 00:32:54,040
Speaker 3: roll his eyes and then and like cut to black

609
00:32:54,120 --> 00:32:54,720
Speaker 3: credits roll.

610
00:32:54,760 --> 00:32:58,920
Speaker 1: That's pretty good. That's grim, which is good. It was

611
00:32:58,960 --> 00:33:01,880
Speaker 1: just good. We like we like, Yeah, Yeah, the script

612
00:33:01,960 --> 00:33:06,640
Speaker 1: was apparently shown to upwards of fifty producers, and it

613
00:33:06,760 --> 00:33:09,920
Speaker 1: ultimately came to Harold Remis by his agent as he

614
00:33:10,040 --> 00:33:12,080
Speaker 1: was about to embark on a phase of his career

615
00:33:12,120 --> 00:33:16,520
Speaker 1: that could probably be termed redemption comedies like Multiplicity, Analyze This,

616
00:33:16,800 --> 00:33:20,040
Speaker 1: and Bedazzled. You Know You Got Your men are stuck

617
00:33:20,120 --> 00:33:24,200
Speaker 1: in various phases of idiocy in their life, and they

618
00:33:24,240 --> 00:33:29,400
Speaker 1: get redeemed by the end and everyone rejoices. He liked

619
00:33:29,440 --> 00:33:32,480
Speaker 1: Ruben's script, but reportedly said he didn't laugh once while

620
00:33:32,560 --> 00:33:37,400
Speaker 1: reading it. Ooh yeah. Ruben had two offers for Groundhog Day,

621
00:33:37,480 --> 00:33:39,720
Speaker 1: one from an indie studio with a lower budget where

622
00:33:39,720 --> 00:33:42,720
Speaker 1: he would maintain creative control, or one with a higher

623
00:33:42,760 --> 00:33:45,880
Speaker 1: budget from Ramis in Colombia. When he went with Ramis

624
00:33:45,920 --> 00:33:48,720
Speaker 1: in Columbia, he lost some control over the script. Ramis

625
00:33:48,760 --> 00:33:51,000
Speaker 1: added humor, cut the part where Rita gets stuck in

626
00:33:51,080 --> 00:33:53,920
Speaker 1: her own loop, and eventually the studio just went and

627
00:33:54,080 --> 00:33:57,720
Speaker 1: denied Ruben's option to turn in a third draft, and

628
00:33:57,880 --> 00:34:01,160
Speaker 1: Ramis took the whole project over. He removed the character

629
00:34:01,280 --> 00:34:04,600
Speaker 1: of Rita's boyfriend Max, he cut out Phil's narration. He

630
00:34:04,840 --> 00:34:08,280
Speaker 1: cut every scene where Phil attempts to escape from Puck Satawani.

631
00:34:08,560 --> 00:34:10,520
Speaker 3: Which I really like because it makes the story so

632
00:34:10,600 --> 00:34:14,040
Speaker 3: much more claustrophobic. And I've heard it described evocatively as

633
00:34:14,560 --> 00:34:17,120
Speaker 3: Phil goes from being a prisoner of the town to

634
00:34:17,239 --> 00:34:19,719
Speaker 3: the god of the town, which is cool.

635
00:34:19,960 --> 00:34:23,440
Speaker 1: It is. Ramis streamlined Reuben's script into a three act

636
00:34:23,480 --> 00:34:26,839
Speaker 1: studio movie by boiling it down to a very clear arc.

637
00:34:27,400 --> 00:34:29,919
Speaker 1: This is the worst day of Phil's life. What would

638
00:34:29,960 --> 00:34:34,439
Speaker 1: make it even worse? Repeating it every day? That's so good, God,

639
00:34:34,520 --> 00:34:36,640
Speaker 1: that's so good. That's so Harold Ramis too.

640
00:34:37,520 --> 00:34:40,760
Speaker 3: The dialogue in the original version of Danny Rubin's script

641
00:34:40,920 --> 00:34:43,280
Speaker 3: is a little on the nose. You can see earlier

642
00:34:43,400 --> 00:34:46,720
Speaker 3: drafts of Groundhog Day online and there's one scene between

643
00:34:46,800 --> 00:34:50,160
Speaker 3: Phil and Rita Anny McDowell's character in the Diner that

644
00:34:50,280 --> 00:34:54,719
Speaker 3: reads as follows Phil's voiceover, me and Rita together was

645
00:34:54,760 --> 00:34:58,200
Speaker 3: the most obvious thing in the world, Phil to Rita.

646
00:34:58,640 --> 00:35:00,560
Speaker 1: Have you ever felt like you were really the same

647
00:35:00,680 --> 00:35:04,760
Speaker 1: day over and over again? Rita like deja vu? Phil?

648
00:35:05,120 --> 00:35:09,440
Speaker 3: More like deja deja deja Rita. So you think you've

649
00:35:09,520 --> 00:35:13,040
Speaker 3: been here before, Phil nods, And how does this evening

650
00:35:13,120 --> 00:35:13,560
Speaker 3: turn out?

651
00:35:14,239 --> 00:35:14,520
Speaker 1: Phil?

652
00:35:15,040 --> 00:35:17,200
Speaker 3: I'll tell you what I do know even in a

653
00:35:17,280 --> 00:35:20,040
Speaker 3: day as long as this, even in a lifetime of

654
00:35:20,160 --> 00:35:25,719
Speaker 3: endless repetition, there's still room for possibilities. It's just dead

655
00:35:25,760 --> 00:35:27,600
Speaker 3: on for somebody who's so good at coming up with

656
00:35:27,840 --> 00:35:31,920
Speaker 3: ingenious premises and great structures at dialogue is pretty horrendous.

657
00:35:32,120 --> 00:35:37,560
Speaker 3: Why we have script doctors, says the guy who is

658
00:35:37,640 --> 00:35:39,000
Speaker 3: never doctor to script?

659
00:35:39,160 --> 00:35:40,000
Speaker 1: Has it completed? No?

660
00:35:40,160 --> 00:35:40,200
Speaker 4: Me?

661
00:35:40,600 --> 00:35:47,080
Speaker 1: Oh, who hasn't completed a script in fifteen years? Nice? Oh? No,

662
00:35:47,280 --> 00:35:49,080
Speaker 1: ten years? Ten years? Sorry? Nice.

663
00:35:52,400 --> 00:35:55,880
Speaker 3: Ultimately, Harold Ramis's rewrite turned this scene into Phil asking

664
00:35:56,000 --> 00:35:59,640
Speaker 3: Rita to describe her dream man, which is great because

665
00:35:59,640 --> 00:36:03,560
Speaker 3: if both the showcases the film character's deviousness, he's researching

666
00:36:03,680 --> 00:36:05,759
Speaker 3: so that you can use that later. And also gave

667
00:36:05,800 --> 00:36:07,160
Speaker 3: Bill Murray ample time.

668
00:36:07,040 --> 00:36:09,239
Speaker 1: To act like a ledge because he's like, you know,

669
00:36:09,640 --> 00:36:13,200
Speaker 1: everything she says like sounds like me, me, me, and

670
00:36:13,400 --> 00:36:13,840
Speaker 1: me again.

671
00:36:13,880 --> 00:36:16,040
Speaker 3: It's a great it's such a great way to twist

672
00:36:16,200 --> 00:36:19,440
Speaker 3: that scene. I also read that Harold Ramis and Danny Rubin,

673
00:36:19,520 --> 00:36:23,320
Speaker 3: or maybe just Danny Rubin use the famous five Stages

674
00:36:23,400 --> 00:36:26,800
Speaker 3: of grief modeled from psychiatrist Elizabeth Koobler Ross's book on

675
00:36:27,000 --> 00:36:29,840
Speaker 3: Death and Dying as a way to outline their script.

676
00:36:30,440 --> 00:36:32,440
Speaker 3: I guess they wanted to show Phil going through the

677
00:36:32,640 --> 00:36:35,960
Speaker 3: you know, Denier Anger, bargaining depression and acceptance of his

678
00:36:36,040 --> 00:36:39,480
Speaker 3: whole predicament, which is ironic considering her book is called

679
00:36:39,560 --> 00:36:40,640
Speaker 3: on death and Dying and.

680
00:36:40,760 --> 00:36:45,240
Speaker 1: Phil can't die. Ramis's version attracted Bill Murray to the project,

681
00:36:45,320 --> 00:36:47,960
Speaker 1: but the two immediately clashed over the film's tone, with

682
00:36:48,120 --> 00:36:51,160
Speaker 1: Murray hoping to highlight the philosophical elements and Ramis winning

683
00:36:51,200 --> 00:36:54,359
Speaker 1: the comedy foregrounded. The studio was happier with Ramis's draft,

684
00:36:54,640 --> 00:36:57,320
Speaker 1: but they ultimately re hired Rubin to reassess the script

685
00:36:57,400 --> 00:37:00,360
Speaker 1: and give notes. I kind of feel bad for for

686
00:37:00,480 --> 00:37:02,959
Speaker 1: old Danny Rubes just getting kicked off and then brought

687
00:37:03,080 --> 00:37:08,800
Speaker 1: back essentially. Well, I'll explain why Ramis was actually ultimately

688
00:37:09,120 --> 00:37:13,000
Speaker 1: just using Rubin as a bulwark against Murray. He thought

689
00:37:13,120 --> 00:37:15,480
Speaker 1: sending Ruben to work on the script with Murray would

690
00:37:15,480 --> 00:37:18,280
Speaker 1: stop but Bill Murray from bombarding him with early morning

691
00:37:18,360 --> 00:37:20,600
Speaker 1: phone calls about the character and the tone of the script.

692
00:37:21,040 --> 00:37:23,680
Speaker 1: And then once when Ramis called to check on their progress,

693
00:37:24,080 --> 00:37:27,200
Speaker 1: Murray asked Ruben to pretend he wasn't there. They call

694
00:37:27,320 --> 00:37:31,600
Speaker 1: that foreshadowing and screenwriting school. Yeah, so imagine signing over

695
00:37:31,680 --> 00:37:34,560
Speaker 1: your project, being denied the chance to turn into revision

696
00:37:34,600 --> 00:37:37,200
Speaker 1: after someone else hacks it up, and then just being

697
00:37:37,280 --> 00:37:40,040
Speaker 1: rehired to run interference for one of the world's biggest

698
00:37:40,080 --> 00:37:42,640
Speaker 1: comedy stars because the director didn't want to deal with

699
00:37:42,719 --> 00:37:46,319
Speaker 1: him anymore. Ultimately, Ruben and Murray didn't fare much better.

700
00:37:46,480 --> 00:37:49,480
Speaker 1: Rubin found Murray's more laid back approach to writing frustrating,

701
00:37:49,800 --> 00:37:52,040
Speaker 1: and the pair were still working on a script a

702
00:37:52,200 --> 00:37:55,640
Speaker 1: month before filming began. They were hewing it closer to

703
00:37:55,719 --> 00:37:59,720
Speaker 1: Ruben's original before. Ruben and Ramis then collaborated on another

704
00:37:59,800 --> 00:38:03,439
Speaker 1: re right, working on individual sections alone and then editing

705
00:38:03,520 --> 00:38:06,839
Speaker 1: each other's work before Ramis spent a final few days

706
00:38:06,880 --> 00:38:09,600
Speaker 1: refining it himself. The process of writing this sounds like

707
00:38:09,640 --> 00:38:13,040
Speaker 1: an absolute nightmare. It sure does, Bob all about the

708
00:38:13,120 --> 00:38:15,920
Speaker 1: back and forth with all the egos and all like

709
00:38:16,040 --> 00:38:18,120
Speaker 1: the rules of the world and everything.

710
00:38:18,360 --> 00:38:21,480
Speaker 3: Yeah, but apparently Harold Ramis was turned off by what

711
00:38:21,600 --> 00:38:26,040
Speaker 3: he viewed as Danny Rubin's earnest preachiness and sweet sentimental moments,

712
00:38:26,400 --> 00:38:28,920
Speaker 3: and instead he made it a much more grouchy but

713
00:38:29,120 --> 00:38:33,040
Speaker 3: funny script. Some scenes that were written but not film

714
00:38:33,120 --> 00:38:37,320
Speaker 3: include Phil praying at a church, gambling, and a scene

715
00:38:37,400 --> 00:38:40,879
Speaker 3: that Murray personally vetoed of Phil stripping naked to force

716
00:38:40,920 --> 00:38:44,120
Speaker 3: an elderly man out of a swimming pool. I wonder

717
00:38:44,200 --> 00:38:47,520
Speaker 3: how stripping naked forced him out of the swimming pool.

718
00:38:48,320 --> 00:38:48,520
Speaker 1: Huh.

719
00:38:49,600 --> 00:38:51,520
Speaker 3: They also cut a bunch of scenes where Phil goes

720
00:38:51,600 --> 00:38:54,959
Speaker 3: to sort of ridiculous lengths to prevent tragedies in town,

721
00:38:55,200 --> 00:38:58,040
Speaker 3: all in the name of making efficient use of his

722
00:38:58,200 --> 00:39:01,759
Speaker 3: time as the town uberminsh It's just you know, he

723
00:39:01,960 --> 00:39:03,799
Speaker 3: knows all the bad things that are gonna happen in town,

724
00:39:03,880 --> 00:39:05,480
Speaker 3: and he can only be so many places at once,

725
00:39:05,560 --> 00:39:07,440
Speaker 3: so he has to get creative. And one of these

726
00:39:07,480 --> 00:39:10,520
Speaker 3: ways includes Phil putting a large rock in a road

727
00:39:10,800 --> 00:39:14,160
Speaker 3: to stop a truck delivering fish because later that day

728
00:39:14,200 --> 00:39:16,960
Speaker 3: at a restaurant a patron would choke on said fish,

729
00:39:17,080 --> 00:39:19,239
Speaker 3: which is really clever.

730
00:39:19,200 --> 00:39:22,839
Speaker 1: But pretty unwieldly. Yeah, it's a good thing that got cut.

731
00:39:25,320 --> 00:39:27,560
Speaker 3: A large pain in the ass that was filmed but

732
00:39:27,640 --> 00:39:30,160
Speaker 3: didn't make it in the finish movie included a breakdown

733
00:39:30,440 --> 00:39:33,560
Speaker 3: where Phil gives himself a mohawk spray, paints his room,

734
00:39:33,640 --> 00:39:35,279
Speaker 3: and destroys it with a chainsaw.

735
00:39:36,360 --> 00:39:38,200
Speaker 1: They filmed this scene for three.

736
00:39:38,120 --> 00:39:41,200
Speaker 3: Days before deciding to go with a much simpler scene

737
00:39:41,280 --> 00:39:44,239
Speaker 3: of Bill Murray breaking a pencil on his nightstand, only

738
00:39:44,320 --> 00:39:47,720
Speaker 3: to see it reappear hole the next morning, which basically

739
00:39:48,080 --> 00:39:51,560
Speaker 3: conveyed the same message in a much simpler and less

740
00:39:52,280 --> 00:39:55,799
Speaker 3: scenery chewing way. They also nixed the scene in which

741
00:39:55,840 --> 00:39:58,600
Speaker 3: Phil kills the groundhog and its lair to try to

742
00:39:58,760 --> 00:40:02,920
Speaker 3: end the time loop, which hilarious leap of logic, because

743
00:40:02,960 --> 00:40:05,480
Speaker 3: this was seen as too close to Bill Murray's character

744
00:40:05,960 --> 00:40:07,240
Speaker 3: in Caddy Shack.

745
00:40:07,800 --> 00:40:10,920
Speaker 1: You know he was, you know, licensed to kill groundhogs.

746
00:40:11,120 --> 00:40:12,840
Speaker 1: Was it groundhog or a gopher? I think it's a

747
00:40:12,920 --> 00:40:15,120
Speaker 1: gopher in ground and I was a gopher. Okay, yeah,

748
00:40:16,320 --> 00:40:20,759
Speaker 1: greasy grin gophers. Right, that's right, you're right, you're right,

749
00:40:20,800 --> 00:40:24,880
Speaker 1: you're right. However, he did pay tribute to Caddy Shack.

750
00:40:25,239 --> 00:40:28,080
Speaker 3: One of his first collaborations with Harold Ramis with his

751
00:40:28,280 --> 00:40:30,759
Speaker 3: b the Hat line, in which he and Rita are

752
00:40:30,840 --> 00:40:33,160
Speaker 3: playing cards and trying to throw them into the hat.

753
00:40:33,440 --> 00:40:35,760
Speaker 3: That is a reference to Caddy Shack and it's famous

754
00:40:35,800 --> 00:40:40,080
Speaker 3: exhortation to be the ball. Hilariously, given all this conflict

755
00:40:40,160 --> 00:40:43,680
Speaker 3: with Bill Murray Harold Ramis like pretty much every director

756
00:40:43,800 --> 00:40:46,120
Speaker 3: from nineteen eighty eight to two thousand and eight. Originally

757
00:40:46,200 --> 00:40:48,600
Speaker 3: what died Tom Hanks to play the role of Phil,

758
00:40:49,239 --> 00:40:53,240
Speaker 3: but he ultimately decided against it because Hanks was quote

759
00:40:53,320 --> 00:40:56,160
Speaker 3: too nice, which I think is a lot of reasons.

760
00:40:56,640 --> 00:40:58,920
Speaker 1: Do you think Tom Hanks just had like a dedicated

761
00:40:59,080 --> 00:41:01,840
Speaker 1: fax machine his in some wing of his house that

762
00:41:02,000 --> 00:41:05,120
Speaker 1: was just getting scripts like twenty four to seven constantly.

763
00:41:05,680 --> 00:41:08,640
Speaker 1: He had a separate door, but like you know, even

764
00:41:08,680 --> 00:41:09,520
Speaker 1: at the script door.

765
00:41:09,960 --> 00:41:14,640
Speaker 3: Yeah, I mean Jesus Christ. Yeah, I mean he must

766
00:41:14,680 --> 00:41:16,880
Speaker 3: have had a whole There must have been a I mean,

767
00:41:16,920 --> 00:41:18,920
Speaker 3: his agent. There's no way one agent could keep up

768
00:41:18,960 --> 00:41:21,840
Speaker 3: with that. But also it's funny how many movies Hanks

769
00:41:22,000 --> 00:41:24,439
Speaker 3: was considered for but ultimately didn't get because they thought

770
00:41:24,480 --> 00:41:27,640
Speaker 3: he was too nice. When we're talking about a few recently,

771
00:41:27,640 --> 00:41:29,400
Speaker 3: I mean, I think Harry Well, I think he opted

772
00:41:29,440 --> 00:41:31,160
Speaker 3: out of Harry because he thought he was too nice.

773
00:41:31,200 --> 00:41:32,239
Speaker 3: But I feel like there were a few others we

774
00:41:32,320 --> 00:41:35,600
Speaker 3: were talking about recently too. It's a fort and Twister

775
00:41:35,760 --> 00:41:39,000
Speaker 3: too well, though wasn't because he was too nice, but uh,

776
00:41:39,160 --> 00:41:40,960
Speaker 3: just to give you some sense of the tone that

777
00:41:41,080 --> 00:41:43,320
Speaker 3: Danny Rubin thought this movie was gonna be He wanted

778
00:41:43,440 --> 00:41:46,600
Speaker 3: Kevin Kleine to play the part of Phil, the male lead.

779
00:41:47,040 --> 00:41:51,520
Speaker 1: I could see that, Yeah, I don't know. You couldn't.

780
00:41:52,239 --> 00:41:54,160
Speaker 1: I don't think he could be. I don't know.

781
00:41:54,200 --> 00:41:56,680
Speaker 3: I guess I just I'm so used to the character

782
00:41:56,760 --> 00:42:01,640
Speaker 3: of Phil being this rumpled guy that yeah, Jill Murray plays.

783
00:42:01,840 --> 00:42:05,600
Speaker 1: Yeah. Yeah. It would have made his sort of winning

784
00:42:05,680 --> 00:42:09,759
Speaker 1: over of Andy less of a personal turnaround, you know,

785
00:42:09,840 --> 00:42:12,080
Speaker 1: because Kevin Klein. Everyone falls in love with Kevin Klein,

786
00:42:12,360 --> 00:42:15,680
Speaker 1: So yeah, he's too refined. Married Tony Kates. Yeah.

787
00:42:16,600 --> 00:42:19,759
Speaker 3: Michael Keaton was also offered the role, but supposedly he

788
00:42:19,880 --> 00:42:23,400
Speaker 3: didn't understand the script and passed, which he says he

789
00:42:23,480 --> 00:42:27,640
Speaker 3: deeply regrets. Other possible leads were Chevy Chase, John Tavolta,

790
00:42:27,760 --> 00:42:28,760
Speaker 3: and Steve Martin.

791
00:42:29,280 --> 00:42:32,479
Speaker 1: What do you think about those? I think Chevy Chase

792
00:42:32,520 --> 00:42:34,319
Speaker 1: and Steve Martin would have been amazing because they both

793
00:42:34,440 --> 00:42:38,080
Speaker 1: have that genuine streak of malice, like I feel unsafe

794
00:42:38,239 --> 00:42:41,640
Speaker 1: around both of those men, as is justified, well justified.

795
00:42:42,920 --> 00:42:45,520
Speaker 1: That surprises me. Chevy definitely, but Steve Martin has a

796
00:42:45,600 --> 00:42:48,160
Speaker 1: kind of unhinged like I mean he's like a tweet

797
00:42:48,480 --> 00:42:51,800
Speaker 1: trans and automobiles, tweakly eyed older guy now, but like

798
00:42:51,920 --> 00:42:54,560
Speaker 1: there's something about him that just has like this, Maybe

799
00:42:54,640 --> 00:42:56,279
Speaker 1: just because I think of him as the dentist in

800
00:42:56,800 --> 00:43:00,480
Speaker 1: in Little Shop of Horrors, but yeah, there's some kind

801
00:43:00,520 --> 00:43:04,239
Speaker 1: of darkness there. I just and Chevy Chase obviously is

802
00:43:04,280 --> 00:43:06,120
Speaker 1: perfect for the first part, but I don't think his

803
00:43:06,320 --> 00:43:10,000
Speaker 1: acting chops or personality would enable him to make the

804
00:43:10,120 --> 00:43:13,520
Speaker 1: turn and become likable as his real life did not

805
00:43:13,719 --> 00:43:17,280
Speaker 1: enable him to. No Travolta, that would have been bizarre.

806
00:43:17,600 --> 00:43:20,560
Speaker 1: No Travolta has neither chop. First of all, everyone is

807
00:43:20,640 --> 00:43:22,360
Speaker 1: just inclined to see like because this would have been

808
00:43:22,400 --> 00:43:24,239
Speaker 1: like kind of pudgy Trobolto, So everyone would have just

809
00:43:24,640 --> 00:43:27,440
Speaker 1: inclined to see him as just like pitiable, like and

810
00:43:27,520 --> 00:43:30,000
Speaker 1: he's not funny enough to like to do all the

811
00:43:30,080 --> 00:43:35,440
Speaker 1: comic turns. No, that's a that's a miss Michael. I'm angry. Yes,

812
00:43:35,960 --> 00:43:41,040
Speaker 1: that's why I'm angry. John Travolta gets serious. He was

813
00:43:41,120 --> 00:43:42,719
Speaker 1: good in the movie where he was Michael of the

814
00:43:42,800 --> 00:43:46,360
Speaker 1: Fallen Angel. That was pretty good. I'm talking about that

815
00:43:46,480 --> 00:43:54,799
Speaker 1: movie that pisses me off. It's an awful movie. Okay, yeah,

816
00:43:54,840 --> 00:44:01,960
Speaker 1: that movie sucks too, Amos Okay, Jordan, Buddy pal my

817
00:44:02,080 --> 00:44:05,359
Speaker 1: friend phenomenon.

818
00:44:08,880 --> 00:44:12,479
Speaker 3: But Harold Ramis decided on Bill Murray, and when Danny

819
00:44:12,520 --> 00:44:16,080
Speaker 3: Rubin expressed doubts about Murray's ability to veer from unlikeability

820
00:44:16,160 --> 00:44:19,640
Speaker 3: to sweet, Ramis assured him, don't worry. This is what

821
00:44:19,760 --> 00:44:22,400
Speaker 3: Bill Murray can do. He can be that nasty and

822
00:44:22,520 --> 00:44:26,200
Speaker 3: still make you like him. Co star Annie McDowell agreed later,

823
00:44:26,280 --> 00:44:30,320
Speaker 3: saying Bill's a jerk, but he makes you laugh. I

824
00:44:30,480 --> 00:44:34,560
Speaker 3: find it surprising that Deanie Rubin doubted Bill Murray's ability

825
00:44:34,600 --> 00:44:37,040
Speaker 3: in this movie because the role was basically the exact

826
00:44:37,080 --> 00:44:39,840
Speaker 3: same role that he played and scrooged, where he's this

827
00:44:40,040 --> 00:44:42,719
Speaker 3: unlikable guy at a TV station who learns to become

828
00:44:42,760 --> 00:44:48,239
Speaker 3: a better person through supernatural circumstances. Yeah, so that's surprising. Also, like,

829
00:44:48,360 --> 00:44:50,840
Speaker 3: who are you first time screenwriter Danny Rubin to like

830
00:44:50,880 --> 00:44:53,719
Speaker 3: get cast dispersions on one of the biggest comedians in

831
00:44:53,719 --> 00:44:57,919
Speaker 3: the world, Bill Murray. Like, all right, Bud, I guess

832
00:44:58,000 --> 00:45:02,719
Speaker 3: we'll take your notes, Danny. I'm getting at the out

833
00:45:02,760 --> 00:45:08,520
Speaker 3: of my office. But continuing the through line of Bill

834
00:45:08,640 --> 00:45:11,279
Speaker 3: Murray being a champ to everybody who he was not

835
00:45:11,960 --> 00:45:15,680
Speaker 3: working directly with or who wasn't in Hollywood, the guy

836
00:45:15,719 --> 00:45:18,080
Speaker 3: who played Ned Ryerson, who will talk to in a minute.

837
00:45:18,120 --> 00:45:22,080
Speaker 3: Steven Tobolski recalled pointing out to Bill that the residents

838
00:45:22,120 --> 00:45:24,280
Speaker 3: of the town where they were filming gathered to watch

839
00:45:24,480 --> 00:45:27,560
Speaker 3: and they all looked hungry, at which point Bill Murray

840
00:45:27,640 --> 00:45:30,759
Speaker 3: ran into a nearby bakery, bought them out of danishes,

841
00:45:30,960 --> 00:45:34,520
Speaker 3: and tossed them into the crowd, presumably Frisbee style. It

842
00:45:34,600 --> 00:45:36,400
Speaker 3: doesn't say that, but I'm just guessing.

843
00:45:36,120 --> 00:45:38,319
Speaker 1: I have to imagine it. Yeah, Yeah, I mean there's

844
00:45:38,360 --> 00:45:40,280
Speaker 1: talks about him like going out when they were shooting

845
00:45:40,280 --> 00:45:42,919
Speaker 1: Ghostbusters and just like panning out like one hundred dollars

846
00:45:42,960 --> 00:45:45,320
Speaker 1: bills to people on the street, just like he just

847
00:45:45,520 --> 00:45:49,680
Speaker 1: he's he does genuinely seem to care about the little people. Yeah. Sure.

848
00:45:50,719 --> 00:45:51,919
Speaker 1: And then there's the allegations.

849
00:45:52,800 --> 00:45:57,160
Speaker 3: Yeah, I mean, I have a hard time justifying. I mean,

850
00:45:57,320 --> 00:46:00,520
Speaker 3: do we think Bill Murray is actually good person capital g.

851
00:46:00,719 --> 00:46:04,200
Speaker 1: Good person or bad person? Do we side note?

852
00:46:04,719 --> 00:46:07,000
Speaker 3: Do we think he does all these grand gestures of

853
00:46:07,080 --> 00:46:09,920
Speaker 3: generosity to cover up some sense of inner guilt for

854
00:46:10,080 --> 00:46:11,160
Speaker 3: bad things he has done?

855
00:46:12,280 --> 00:46:14,719
Speaker 1: You know, maybe I love always a beloved guy. I

856
00:46:14,719 --> 00:46:16,920
Speaker 1: don't know why, yeah, even going for sure, but I

857
00:46:17,000 --> 00:46:20,200
Speaker 1: mean it's it's there are a lot of allegations about him,

858
00:46:20,200 --> 00:46:22,400
Speaker 1: and you know, you you got to address those the

859
00:46:22,440 --> 00:46:24,200
Speaker 1: same way you do any but anybody else that those

860
00:46:24,239 --> 00:46:27,879
Speaker 1: are out about. I think that duality has been part

861
00:46:27,920 --> 00:46:30,799
Speaker 1: of his brand for so long that maybe he kind

862
00:46:30,800 --> 00:46:33,879
Speaker 1: of got away with a lot because people were like, Oh,

863
00:46:34,400 --> 00:46:37,000
Speaker 1: Bill's just being Bill, you know, and that's maybe a

864
00:46:37,040 --> 00:46:41,280
Speaker 1: little more sinister than than anything to build your build

865
00:46:41,320 --> 00:46:43,759
Speaker 1: your brand around kind of just publicly being a dick

866
00:46:43,840 --> 00:46:48,320
Speaker 1: to people and then you know, not actually having not

867
00:46:48,480 --> 00:46:51,879
Speaker 1: ever making the the face turn and the final third

868
00:46:51,920 --> 00:46:56,279
Speaker 1: of the movie I Love dan Akrod would refer to

869
00:46:56,360 --> 00:46:59,520
Speaker 1: him as the Muracane Yeah, which I appreciate, is dan

870
00:46:59,600 --> 00:47:02,759
Speaker 1: Akroyd doing. He's still hawking that help that vodka in

871
00:47:02,840 --> 00:47:05,880
Speaker 1: the skull shaped bottle. That's one of like three facts

872
00:47:05,920 --> 00:47:07,640
Speaker 1: I know about him that I hold due to my heart.

873
00:47:07,680 --> 00:47:10,200
Speaker 1: He has web toes. Also, all right, shout, I'm stopping

874
00:47:10,239 --> 00:47:13,120
Speaker 1: you right now, Jesus Christ, what are you? Quentin Tarantino

875
00:47:14,280 --> 00:47:18,280
Speaker 1: quick thumbnail sketch of Harold Ramis and Bill Murray's collaborations

876
00:47:18,719 --> 00:47:22,200
Speaker 1: in Spotlight Spotlight. In nineteen sixty nine, Harold Ramis was

877
00:47:22,239 --> 00:47:25,680
Speaker 1: accepted into the Second City in improvisational Chicago sketch comedy

878
00:47:25,760 --> 00:47:28,600
Speaker 1: troupe that would birth the careers of not just Bill Murray,

879
00:47:28,719 --> 00:47:32,160
Speaker 1: but John Malushi, uh Dan Ackroyd, Mike Myers, Chris Farley,

880
00:47:32,200 --> 00:47:36,560
Speaker 1: Stephen Colbert, and everybody like the list goes on. Ramus

881
00:47:36,680 --> 00:47:40,040
Speaker 1: credits an LSD trip, however, with realizing he didn't belong

882
00:47:40,080 --> 00:47:42,640
Speaker 1: in a live performance situation and briefly left the theater,

883
00:47:43,000 --> 00:47:45,400
Speaker 1: only to return and find that Belushi had taken his spot.

884
00:47:45,920 --> 00:47:49,560
Speaker 1: And this sort of you know type cast Ramis into

885
00:47:49,640 --> 00:47:52,880
Speaker 1: the straight man role that he would play for years. Meanwhile,

886
00:47:53,080 --> 00:47:56,880
Speaker 1: Murray followed his brother Brian's path to Second City, but

887
00:47:57,280 --> 00:48:01,280
Speaker 1: struggling to make ends meet in the realm of improvvisational comedy.

888
00:48:01,520 --> 00:48:05,799
Speaker 1: To surprize of No One, Bill was arrested at Chicago's

889
00:48:05,840 --> 00:48:08,200
Speaker 1: O'Hare Airport at only twenty one years old with a

890
00:48:08,320 --> 00:48:12,040
Speaker 1: whopping ten pounds of marijuana. Wow. The arrest is something

891
00:48:12,080 --> 00:48:16,120
Speaker 1: he credits with re energizing his dedication to comedy and acting.

892
00:48:16,600 --> 00:48:20,640
Speaker 3: Nah Tim Allen get busted for some phenomenal amount of

893
00:48:20,719 --> 00:48:21,680
Speaker 3: coke that he was smuggling.

894
00:48:21,760 --> 00:48:23,520
Speaker 1: Yeah, and then he flipped on and then he rated

895
00:48:23,560 --> 00:48:27,160
Speaker 1: out all his buds. Yeah. I don't know how he's

896
00:48:27,360 --> 00:48:29,920
Speaker 1: I mean, presumably all those guys are dead now, but

897
00:48:30,120 --> 00:48:32,000
Speaker 1: I don't know how he made that. Maybe the other

898
00:48:32,040 --> 00:48:35,200
Speaker 1: way around. You will take this role in the sitcom

899
00:48:35,640 --> 00:48:38,800
Speaker 1: or else we will, but no, I want to do

900
00:48:38,920 --> 00:48:42,600
Speaker 1: something edgy and meaningful. That's that's interesting, being forced into

901
00:48:42,640 --> 00:48:45,800
Speaker 1: a lifetime of network now because he got moving on.

902
00:48:46,520 --> 00:48:48,799
Speaker 1: I'm not I'm not letting it. We don't know where

903
00:48:48,840 --> 00:48:49,359
Speaker 1: that money went.

904
00:48:49,960 --> 00:48:52,239
Speaker 3: You will take this terrible role that pays you way

905
00:48:52,280 --> 00:48:55,680
Speaker 3: too much, and you will pay nine of that to us.

906
00:48:56,000 --> 00:48:58,440
Speaker 1: Oh maybe it does longer. I don't know.

907
00:48:58,480 --> 00:49:01,520
Speaker 3: I'm done thinking about too. That's a script right there.

908
00:49:02,200 --> 00:49:06,560
Speaker 3: King of Comedy two, King Harder, got some unhinged oka.

909
00:49:07,120 --> 00:49:10,000
Speaker 3: King of Comedy too Heavy lies the Crown. Okay, now

910
00:49:10,080 --> 00:49:13,640
Speaker 3: you're onto something, now you're cooking. Yeah, here we go,

911
00:49:14,040 --> 00:49:14,400
Speaker 3: Here we go.

912
00:49:15,160 --> 00:49:15,560
Speaker 1: I love this.

913
00:49:15,680 --> 00:49:18,120
Speaker 3: Bill Murray and Harold Ramis met when Bill Murray was

914
00:49:18,160 --> 00:49:21,080
Speaker 3: a teen because Harold Rams he's six years older, and

915
00:49:21,160 --> 00:49:24,480
Speaker 3: he was initially friends with Bill's older brother Brian Murray

916
00:49:24,600 --> 00:49:28,399
Speaker 3: through Second City, who has a small part in Groundhog Day,

917
00:49:28,719 --> 00:49:31,520
Speaker 3: and Brian took Ramis to meet his brother Bill at

918
00:49:31,560 --> 00:49:34,880
Speaker 3: a local golf course where he ran the refreshment stand.

919
00:49:34,920 --> 00:49:36,880
Speaker 3: It was this teenage job, which I just think is

920
00:49:36,920 --> 00:49:39,120
Speaker 3: adorable that that's where they met on a golf course,

921
00:49:39,160 --> 00:49:42,680
Speaker 3: which is fitting considering Caddy shack Raymis and.

922
00:49:42,680 --> 00:49:44,720
Speaker 1: Murray stayed in each other's orbits for the next decade

923
00:49:44,800 --> 00:49:48,000
Speaker 1: or so through National Lampoon, although Harold Ramis would decline

924
00:49:48,040 --> 00:49:51,880
Speaker 1: Lorne Michael's offer during Lorne's wide poaching of the Second

925
00:49:51,920 --> 00:49:55,640
Speaker 1: City to join what would become Saturday Night Live, Raymis

926
00:49:55,719 --> 00:49:59,240
Speaker 1: and Murray's stars rose Concurrently, Harold Ramis drafted the script

927
00:49:59,320 --> 00:50:01,680
Speaker 1: for National lamp Une's Animal House, which became a record

928
00:50:01,719 --> 00:50:04,120
Speaker 1: breaking hit. While Bill Murray was coming up as one

929
00:50:04,120 --> 00:50:08,040
Speaker 1: of SNL's featured stars working off a herald Ramis script,

930
00:50:08,160 --> 00:50:11,640
Speaker 1: Ivan Wrightman picked Bill Murray to headline his film Meatballs.

931
00:50:12,360 --> 00:50:14,279
Speaker 1: Have you ever seen that? I've never seen that. Yeah,

932
00:50:14,280 --> 00:50:17,320
Speaker 1: it's fine, coren a legend.

933
00:50:17,320 --> 00:50:19,840
Speaker 3: At least, no one was sure Bill Murray was actually

934
00:50:19,880 --> 00:50:22,480
Speaker 3: going to play the lead in Meatballs until he actually

935
00:50:22,520 --> 00:50:23,680
Speaker 3: showed up on the first day of.

936
00:50:23,719 --> 00:50:30,040
Speaker 1: Filming, setting the tone for his life. Yeah, yeah, meat

937
00:50:30,080 --> 00:50:31,680
Speaker 1: Balls was a hit, setting off one of the most

938
00:50:31,719 --> 00:50:36,600
Speaker 1: successful pairings in film history. Ramus and Murray's hot streak

939
00:50:36,640 --> 00:50:40,239
Speaker 1: would grow to include Caddy Shack Stripes, Ghostbusters and to

940
00:50:40,320 --> 00:50:43,839
Speaker 1: a lesser extent, Ghostbusters two, and eventually Groundhog Day, their

941
00:50:43,960 --> 00:50:47,879
Speaker 1: sixth collaboration. So that is the male lead for the movie.

942
00:50:47,960 --> 00:50:50,400
Speaker 1: What about the female lead for the movie, role of Rita?

943
00:50:51,880 --> 00:50:55,200
Speaker 1: That was an awful segue, Buddy, keep that in. I

944
00:50:55,320 --> 00:50:58,759
Speaker 1: want folks to know how you're struggling. It will humanize you.

945
00:51:00,920 --> 00:51:06,319
Speaker 1: Everyone listened to Jordan Dye on air. It's a Friday night,

946
00:51:06,360 --> 00:51:07,200
Speaker 1: It's a long week.

947
00:51:09,680 --> 00:51:12,880
Speaker 3: This boggles my mind to the point where I almost

948
00:51:12,960 --> 00:51:16,399
Speaker 3: think it was somebody in a listical fifteen years ago

949
00:51:16,480 --> 00:51:18,480
Speaker 3: writing it as a joke and it just got picked

950
00:51:18,520 --> 00:51:21,359
Speaker 3: up in the listical echo chamber, and now it's taken

951
00:51:21,400 --> 00:51:27,000
Speaker 3: his cannon. Apparently they were considering Tory Amos, the beloved singer,

952
00:51:27,080 --> 00:51:29,600
Speaker 3: songwriter and pianist, for the role of.

953
00:51:29,880 --> 00:51:34,120
Speaker 1: Rita, which is just I've never heard of her being

954
00:51:34,239 --> 00:51:36,520
Speaker 1: considered for any other movies. I had no idea that

955
00:51:36,640 --> 00:51:41,560
Speaker 1: she has any kind of acting background. I don't fully

956
00:51:41,640 --> 00:51:46,680
Speaker 1: get it. Well, so it seems to stem from her

957
00:51:46,760 --> 00:51:51,880
Speaker 1: being photographed by a British magazine that she is in

958
00:51:52,040 --> 00:51:54,359
Speaker 1: a room with a bunch of scripts and Groundhog Days

959
00:51:54,440 --> 00:51:56,560
Speaker 1: one of it can be seen in just one of them. Oh,

960
00:51:56,680 --> 00:51:59,200
Speaker 1: and I think this was before the film had even

961
00:51:59,320 --> 00:52:01,040
Speaker 1: I mean this was it was just like her in

962
00:52:01,080 --> 00:52:06,359
Speaker 1: an office or something. So that's interesting. Yeah, it makes sense.

963
00:52:06,400 --> 00:52:07,839
Speaker 1: I mean she was she would have been at her

964
00:52:08,280 --> 00:52:10,359
Speaker 1: you know, sort of peak of fame at this point.

965
00:52:10,400 --> 00:52:13,600
Speaker 1: They're always trying to break actresses in or musicians in acting.

966
00:52:13,680 --> 00:52:16,120
Speaker 1: But I had no idea that she was, because she

967
00:52:16,200 --> 00:52:20,320
Speaker 1: hasn't really acted much since, right, I don't think so, No,

968
00:52:20,760 --> 00:52:21,560
Speaker 1: I'm pretty sure not.

969
00:52:22,320 --> 00:52:24,160
Speaker 3: Yeah, she's so cool, though, I didn't realize that she

970
00:52:24,320 --> 00:52:27,080
Speaker 3: was like a prodigy like she I think is still

971
00:52:27,560 --> 00:52:29,600
Speaker 3: the youngest person to have ever been admitted to the

972
00:52:29,680 --> 00:52:31,520
Speaker 3: Peabody Institute at Johns Hopkins.

973
00:52:31,600 --> 00:52:34,359
Speaker 1: She was five. That's nice. Five.

974
00:52:35,120 --> 00:52:38,480
Speaker 3: Then she was expelled at eleven, I think for playing

975
00:52:38,560 --> 00:52:40,640
Speaker 3: rock and roll. I forget it was some like really

976
00:52:40,719 --> 00:52:42,640
Speaker 3: puritanical reason, if I remember correctly.

977
00:52:42,800 --> 00:52:44,400
Speaker 1: Good for her. I interviewed her.

978
00:52:44,520 --> 00:52:48,799
Speaker 3: She was exactly as whimsical and supernatural seeming as you'd hope.

979
00:52:49,160 --> 00:52:50,200
Speaker 1: Nice Yeah.

980
00:52:50,440 --> 00:52:54,239
Speaker 3: Production considered auditioning comedians to play opposite Bill Murray, but

981
00:52:54,280 --> 00:52:55,960
Speaker 3: they didn't want to have someone who was gonna be,

982
00:52:56,440 --> 00:53:00,960
Speaker 3: you know, vying for laughs and mugging against the very mercurial,

983
00:53:01,560 --> 00:53:05,480
Speaker 3: very improvisation of Bill Murray. And instead they saw somebody

984
00:53:05,480 --> 00:53:09,960
Speaker 3: who would just be in a ceaseless torrent of warmth

985
00:53:10,080 --> 00:53:14,040
Speaker 3: and intelligence in the form of Andy McDowell, who is great.

986
00:53:14,920 --> 00:53:17,400
Speaker 3: Bill Murray really liked her because she reminded him of

987
00:53:17,520 --> 00:53:20,480
Speaker 3: his first girlfriend that he had in the second grade.

988
00:53:20,760 --> 00:53:21,919
Speaker 1: That's cute. Yeah.

989
00:53:22,520 --> 00:53:25,160
Speaker 3: She chose to speak with her natural South Carolina accent

990
00:53:25,280 --> 00:53:28,600
Speaker 3: for the film, which caused a minor rewrite to the line, oh,

991
00:53:28,719 --> 00:53:31,719
Speaker 3: let's not spoil it when ned Ryerson, the annoying ned

992
00:53:31,800 --> 00:53:35,920
Speaker 3: Ryerson proposes a three person celebration because her accent made

993
00:53:35,920 --> 00:53:40,160
Speaker 3: the original word ruin difficult to understand? How would that

994
00:53:40,239 --> 00:53:42,480
Speaker 3: be rendered in a Southern let's not ruin it?

995
00:53:43,360 --> 00:53:46,359
Speaker 1: Oh? Yeah, oh nice, hey, yaga woll you're better than

996
00:53:46,680 --> 00:53:53,399
Speaker 1: You're better than chachipt from my accent. Thanks. Well, when

997
00:53:53,440 --> 00:53:55,279
Speaker 1: it puts me out of a job, someday, I'll say,

998
00:53:56,200 --> 00:53:58,320
Speaker 1: at least I could do a better Southern accent than this.

999
00:53:58,680 --> 00:54:00,320
Speaker 1: They used to tell me I was better than you.

1000
00:54:02,280 --> 00:54:04,360
Speaker 1: Did I ever send you? I cloned my own voice

1001
00:54:04,719 --> 00:54:06,840
Speaker 1: by using those drafts. Yeah, that was pretty It was

1002
00:54:06,880 --> 00:54:12,040
Speaker 1: pretty great. Maybe you'll we'll splice that in here. Hey, guys,

1003
00:54:12,080 --> 00:54:14,640
Speaker 1: I generated my own voice through some voice cloning software.

1004
00:54:14,680 --> 00:54:15,800
Speaker 1: Does this sound anything like me?

1005
00:54:16,120 --> 00:54:18,800
Speaker 3: Speaking of annoying conversations that nobody wants to have? This

1006
00:54:18,960 --> 00:54:21,360
Speaker 3: brings us to He's a beloved I love them. I

1007
00:54:21,400 --> 00:54:24,080
Speaker 3: can't help but love them, Ned Ryerson.

1008
00:54:24,000 --> 00:54:29,000
Speaker 1: Ned Needle knows Ned, Ned Ryerson. You know, everybody knows Ned.

1009
00:54:29,800 --> 00:54:33,480
Speaker 3: He's played by Steven Tabolski, and he said that shooting

1010
00:54:33,520 --> 00:54:35,760
Speaker 3: the movie was sort of like being in it. Harold

1011
00:54:35,840 --> 00:54:38,840
Speaker 3: Ramis couldn't decide on the weather conditions for the background

1012
00:54:38,920 --> 00:54:41,520
Speaker 3: of Fill and Ned's encounters, so we shot their nine

1013
00:54:41,640 --> 00:54:45,160
Speaker 3: scenes together multiple times in differing conditions.

1014
00:54:45,800 --> 00:54:46,000
Speaker 1: Yeah.

1015
00:54:46,000 --> 00:54:48,360
Speaker 3: I hadn't really thought about, you know, all the scenes

1016
00:54:48,680 --> 00:54:52,560
Speaker 3: that they repeat pretty much across the board. At least

1017
00:54:52,560 --> 00:54:54,600
Speaker 3: the outdoor ones had to be shot on exactly the

1018
00:54:54,719 --> 00:54:56,480
Speaker 3: same day for continuity reasons.

1019
00:54:56,560 --> 00:54:58,960
Speaker 1: Yeah, it's insane, man, especially trying to do it where

1020
00:54:59,080 --> 00:55:00,120
Speaker 1: they shot it, which will get.

1021
00:55:00,840 --> 00:55:04,120
Speaker 3: Yeah, No, it's really insane, and just all the little

1022
00:55:04,239 --> 00:55:06,520
Speaker 3: challenging things about just even like the extras in the

1023
00:55:06,600 --> 00:55:10,520
Speaker 3: background having to match their movements over and over again, which.

1024
00:55:10,400 --> 00:55:11,640
Speaker 1: Is, you know, harder than you think.

1025
00:55:11,760 --> 00:55:14,320
Speaker 3: And I think there's some cinema sins video that shows

1026
00:55:14,360 --> 00:55:16,960
Speaker 3: that sometimes they are like actors in different places.

1027
00:55:20,360 --> 00:55:21,759
Speaker 1: I know should.

1028
00:55:24,120 --> 00:55:26,960
Speaker 3: During filming, Harold Ramis and screenwriter Danny Rubin wanted to

1029
00:55:27,000 --> 00:55:30,080
Speaker 3: add another ned Ryersons scene at the last minute, so

1030
00:55:30,239 --> 00:55:33,520
Speaker 3: Tabowski wrote up a scene in which ned Ryerson explains

1031
00:55:33,680 --> 00:55:38,160
Speaker 3: numerous insurance policies He's insurance salesman to Phil Connors, basically

1032
00:55:38,160 --> 00:55:41,560
Speaker 3: the interaction off of his own insurance guy, and supposedly

1033
00:55:41,600 --> 00:55:44,320
Speaker 3: the insurance guy later watched the movie and called Tobalski

1034
00:55:44,360 --> 00:55:48,239
Speaker 3: and thanked him for portraying insurance agents accurately rather than

1035
00:55:48,280 --> 00:55:51,680
Speaker 3: mocking them, which is funny because that was not my takeaway.

1036
00:55:52,080 --> 00:55:54,440
Speaker 1: Yes, I believe he assumed he had been knocking them.

1037
00:55:57,239 --> 00:56:01,239
Speaker 3: Seeven Tebowski's funny. He's this, you know, veteran character. He's

1038
00:56:01,239 --> 00:56:04,960
Speaker 3: got the TMI honorary prefix veteran character. Actor Steven Tavolski.

1039
00:56:05,120 --> 00:56:08,600
Speaker 3: Sure he tells the story of making the Jason Priestley

1040
00:56:08,680 --> 00:56:12,000
Speaker 3: comedy Calendar Girl with another guy named Kurt Fuller, who's

1041
00:56:12,040 --> 00:56:16,239
Speaker 3: a very similar character actor, and Kurt also auditioned for

1042
00:56:16,280 --> 00:56:18,759
Speaker 3: the role of Ned Ryerson and was openly talking about

1043
00:56:18,840 --> 00:56:20,759
Speaker 3: how he held the part all wrapped up and in

1044
00:56:20,880 --> 00:56:23,000
Speaker 3: the bag when they were making this other movie together.

1045
00:56:23,960 --> 00:56:27,000
Speaker 3: So when Tibolski's kept getting callbacks for this role, he

1046
00:56:27,160 --> 00:56:29,080
Speaker 3: kept it quiet on the set of this movie because

1047
00:56:29,120 --> 00:56:31,359
Speaker 3: he didn't want to make things awkward with his co star.

1048
00:56:32,400 --> 00:56:34,400
Speaker 1: And so when Kurt Fuller.

1049
00:56:34,120 --> 00:56:36,000
Speaker 3: Comes in one day all pissy that he didn't get

1050
00:56:36,040 --> 00:56:37,719
Speaker 3: the role at all, he learned to be passed over,

1051
00:56:38,239 --> 00:56:41,880
Speaker 3: Toboski kept his mouth shut. And then at the Groundhog

1052
00:56:41,960 --> 00:56:45,320
Speaker 3: Day premiere, Tobolski exits the theater and he sees Kurt

1053
00:56:45,400 --> 00:56:49,279
Speaker 3: Fuller was in attendance for some reason, staring him down.

1054
00:56:49,960 --> 00:56:51,920
Speaker 3: But Fuller apparently was gracious.

1055
00:56:51,960 --> 00:56:53,799
Speaker 1: He came up to him and said, well, you took

1056
00:56:53,880 --> 00:56:55,400
Speaker 1: my part from me, but at least he did a

1057
00:56:55,440 --> 00:56:58,480
Speaker 1: good job. And Tobowski, he's funny.

1058
00:56:58,520 --> 00:57:01,360
Speaker 3: He does a lot of talks in one man and monologues,

1059
00:57:01,400 --> 00:57:03,719
Speaker 3: and you can find clips of these on YouTube, and.

1060
00:57:03,840 --> 00:57:05,480
Speaker 1: Yeah, they're worth watching. They're cute.

1061
00:57:05,920 --> 00:57:08,880
Speaker 3: He tells the story about being an ancient Roman ruins

1062
00:57:09,000 --> 00:57:11,040
Speaker 3: in the south of France with his family on vacation,

1063
00:57:11,200 --> 00:57:14,160
Speaker 3: and he got recognized by the guy selling tickets. He said,

1064
00:57:14,200 --> 00:57:16,919
Speaker 3: this guy couldn't speak English, but he knew the word dead.

1065
00:57:19,960 --> 00:57:22,640
Speaker 1: As you meditate on that, we'll be right back with more.

1066
00:57:22,640 --> 00:57:41,200
Speaker 1: Too much information after these messages. Ironically, given that the

1067
00:57:41,280 --> 00:57:45,800
Speaker 1: film catapulted punk Satawi, Pennsylvania to new levels of fame,

1068
00:57:45,960 --> 00:57:48,920
Speaker 1: the three month shoot actually took place in Woodstock, Illinois,

1069
00:57:49,240 --> 00:57:52,680
Speaker 1: fifty miles outside of Chicago, not far from where Ramis

1070
00:57:52,760 --> 00:57:55,640
Speaker 1: grew up, part of the reason he chose it. However,

1071
00:57:55,840 --> 00:57:58,840
Speaker 1: the continuity air showcased in the or I guess the

1072
00:57:58,960 --> 00:58:02,240
Speaker 1: cinema sin if you're based in ned Ryerson's scene where

1073
00:58:02,280 --> 00:58:04,200
Speaker 1: you can clearly see a sign in the background reading

1074
00:58:04,280 --> 00:58:08,400
Speaker 1: Woodstock Jewelers. They scouted over sixty towns for the location

1075
00:58:08,520 --> 00:58:11,520
Speaker 1: before settling on Woodstock, which even came equipped with the

1076
00:58:11,560 --> 00:58:16,520
Speaker 1: pothole that Phil steps in. I've seen conflicting explanations on this.

1077
00:58:16,840 --> 00:58:19,320
Speaker 1: Why'd you make me read it? Then? Well, no, I've

1078
00:58:19,360 --> 00:58:19,640
Speaker 1: seen some.

1079
00:58:20,000 --> 00:58:23,080
Speaker 3: People said that that was an actual pothole in town,

1080
00:58:23,640 --> 00:58:27,800
Speaker 3: and other people say that the production actually created what surely.

1081
00:58:27,600 --> 00:58:30,280
Speaker 1: Must be the most famous pothole in cinema. However, I

1082
00:58:30,440 --> 00:58:33,520
Speaker 1: do know that there's a plaque in town that reads

1083
00:58:33,600 --> 00:58:36,960
Speaker 1: Bill Murray stepped here on the sidewalk where that pothole is,

1084
00:58:37,160 --> 00:58:39,560
Speaker 1: which I think is great. The town of Woodstock is

1085
00:58:39,720 --> 00:58:43,040
Speaker 1: really adorable in the way that it leaned into Groundhog

1086
00:58:43,200 --> 00:58:46,919
Speaker 1: Day tourists, which is very much a thing. They sell

1087
00:58:47,080 --> 00:58:50,080
Speaker 1: sorts of merch like stuffed groundhogs, and there are fans

1088
00:58:50,120 --> 00:58:52,920
Speaker 1: of the movie who regularly get married on the bandstand

1089
00:58:53,000 --> 00:58:57,880
Speaker 1: in the center of town, which is cute. Question mark.

1090
00:58:59,120 --> 00:59:01,479
Speaker 1: I think I'll give it tone, I'll give it tongue.

1091
00:59:01,520 --> 00:59:05,160
Speaker 1: You know what, why not? Yeah? Why not let them

1092
00:59:05,240 --> 00:59:08,880
Speaker 1: have that? Yeah. Woodstock now capitalizes on its cinematic fame

1093
00:59:08,920 --> 00:59:11,160
Speaker 1: by having its own Groundhog Day with its own rodent,

1094
00:59:11,320 --> 00:59:17,400
Speaker 1: unimaginably named Woodstock Willie get your own thing. Production's choice backfired, however,

1095
00:59:17,440 --> 00:59:20,120
Speaker 1: when the people of Punk Satani, offended by this decision,

1096
00:59:20,280 --> 00:59:22,840
Speaker 1: didn't allow their sacred hog to be used for the film.

1097
00:59:23,440 --> 00:59:27,320
Speaker 1: Production had to breed a small you heard me, production

1098
00:59:27,480 --> 00:59:29,760
Speaker 1: had to breed a small family of the little bastards

1099
00:59:30,960 --> 00:59:36,360
Speaker 1: for their uses. While the film differs from irl Punk

1100
00:59:36,400 --> 00:59:39,880
Speaker 1: Satani in that the insanely named Gobbler's Knob is actually

1101
00:59:39,960 --> 00:59:42,360
Speaker 1: located in a wooded area on the city limits, not

1102
00:59:42,480 --> 00:59:45,040
Speaker 1: in the town center. Punk Satani did send their own

1103
00:59:45,120 --> 00:59:49,760
Speaker 1: representatives to ensure the accuracy of the actual ceremony. In

1104
00:59:49,880 --> 00:59:52,800
Speaker 1: later years, Ramis and Murray have both come to Pennsylvania

1105
00:59:52,840 --> 00:59:56,080
Speaker 1: to act as honorary grand marshals for the day's activities,

1106
00:59:56,320 --> 00:59:58,760
Speaker 1: so at least there are no long term grudges. It

1107
00:59:58,880 --> 01:00:01,560
Speaker 1: was probably helped by the Yeah. Well, this was probably

1108
01:00:01,640 --> 01:00:04,120
Speaker 1: helped by the fact that the movie boosted attendance for

1109
01:00:04,200 --> 01:00:07,520
Speaker 1: Punk Satani's Groundhog Day from around five thousand people to

1110
01:00:07,760 --> 01:00:11,280
Speaker 1: thirty five thousand people. According to Tom Dunkle, at one time,

1111
01:00:11,360 --> 01:00:15,120
Speaker 1: the president of the town's Groundhog Club, did you ever go?

1112
01:00:19,720 --> 01:00:22,760
Speaker 1: It's freezing in that part of the world, Why would

1113
01:00:22,800 --> 01:00:24,720
Speaker 1: you go? And then they just hold him up. They

1114
01:00:24,800 --> 01:00:27,160
Speaker 1: did the real whole Rigama role. And then what's there

1115
01:00:27,200 --> 01:00:30,600
Speaker 1: to do? Just get drunk? Sure eye stuffed animals. Sure

1116
01:00:30,720 --> 01:00:32,640
Speaker 1: they're made in Vietnam, Like, no one cares. I don't,

1117
01:00:32,920 --> 01:00:40,240
Speaker 1: I don't get it. We were probably befitting Illinois In March.

1118
01:00:40,520 --> 01:00:43,160
Speaker 1: Chunks of the shoot were conducted in temperatures as low

1119
01:00:43,160 --> 01:00:47,280
Speaker 1: as twenty degrees which left Bill Murray irritable and chapped.

1120
01:00:47,560 --> 01:00:50,160
Speaker 1: Being outside filming from up to twelve hours a day.

1121
01:00:50,880 --> 01:00:53,720
Speaker 1: Stephen Tobolowski recalled that for their scene, to prepare for

1122
01:00:53,880 --> 01:00:56,640
Speaker 1: having to repeatedly immerse his foot in a freezing puddle,

1123
01:00:57,080 --> 01:00:59,480
Speaker 1: Murray first wrapped his foot in saran wrap, then a

1124
01:00:59,560 --> 01:01:02,640
Speaker 1: layer of newprene, then two pairs of socks, then his shoe.

1125
01:01:03,400 --> 01:01:06,320
Speaker 1: As soon as the shot was finished, Toblowski explained, Bill

1126
01:01:06,400 --> 01:01:09,240
Speaker 1: walked off and then came the torrent of expletives until

1127
01:01:09,280 --> 01:01:11,320
Speaker 1: he was rushed into the building where there were three

1128
01:01:11,360 --> 01:01:13,880
Speaker 1: of the women from the costumes department with blow dryers.

1129
01:01:14,320 --> 01:01:16,560
Speaker 1: They ripped off his socks, and ripped off the neoprene,

1130
01:01:16,640 --> 01:01:18,800
Speaker 1: and ripped off the suran rap and started blow drying

1131
01:01:18,880 --> 01:01:21,240
Speaker 1: his foot with hot air so he wouldn't get frostbite

1132
01:01:21,400 --> 01:01:25,600
Speaker 1: and lose his foot. Meanwhile, Andy McDowell did actually get frostbite,

1133
01:01:26,200 --> 01:01:28,520
Speaker 1: and the weather was so cold at points that actors

1134
01:01:28,600 --> 01:01:32,120
Speaker 1: began having trouble articulating their words after a while because

1135
01:01:32,120 --> 01:01:36,880
Speaker 1: their tongues were so cold. I am the weather. The

1136
01:01:37,000 --> 01:01:40,720
Speaker 1: warming weather. Then the shooting progress presented new problems. Temperatures

1137
01:01:40,720 --> 01:01:44,120
Speaker 1: began to creep past eighty degrees and then production had

1138
01:01:44,160 --> 01:01:46,040
Speaker 1: to start bringing in fake snow to make it look

1139
01:01:46,160 --> 01:01:49,000
Speaker 1: like winter, but actors and extras had to continue to

1140
01:01:49,040 --> 01:01:51,800
Speaker 1: wear their winter garb in the heat of summer. The

1141
01:01:51,880 --> 01:01:54,960
Speaker 1: shifting skies and lighting conditions of the season were big problems,

1142
01:01:55,960 --> 01:01:59,000
Speaker 1: and as his own shorthand, because the film was shot

1143
01:01:59,080 --> 01:02:02,920
Speaker 1: out of sequence, Murray developed a quick guide for his

1144
01:02:03,040 --> 01:02:07,520
Speaker 1: own character, consistently repeatedly interrupting Harold Ramis's pre take instructions

1145
01:02:07,560 --> 01:02:10,960
Speaker 1: by just asking, just tell me good Phil or bad Phil.

1146
01:02:12,400 --> 01:02:15,240
Speaker 1: I mean, I think this was it was slightly mean spirited.

1147
01:02:15,280 --> 01:02:18,240
Speaker 3: It was like Harold Ramis trying to be a director

1148
01:02:18,360 --> 01:02:21,000
Speaker 3: and give him motivation and talk about the performance, and

1149
01:02:21,320 --> 01:02:22,440
Speaker 3: Bill Murrays just dismissed it.

1150
01:02:22,560 --> 01:02:25,360
Speaker 1: Just tell me good Fill or bad Phil. Yeah.

1151
01:02:27,120 --> 01:02:29,520
Speaker 3: Well, despite the prevalence of scenes shot in what is

1152
01:02:29,560 --> 01:02:32,200
Speaker 3: supposed to be the Tip Top Cafe, that is not

1153
01:02:32,280 --> 01:02:35,960
Speaker 3: a real place and was created specifically for the film. However,

1154
01:02:36,040 --> 01:02:40,400
Speaker 3: after the movie's success, a real restaurant named Tiptop Bistro opened,

1155
01:02:40,760 --> 01:02:44,720
Speaker 3: which then transitioned to the Jackie's Cookie Shop, Bellow's Gelateria,

1156
01:02:45,000 --> 01:02:48,320
Speaker 3: a Caribbean chicken place, and per your Google map search,

1157
01:02:48,840 --> 01:02:52,080
Speaker 3: a Takorea reads like the worst Joni Mitchell song ever.

1158
01:02:52,920 --> 01:03:00,480
Speaker 1: Hey paved tiptop cafe, put up a talk career I was.

1159
01:03:01,320 --> 01:03:04,160
Speaker 3: I'm just gonna say, most disingenuous laugh in all the

1160
01:03:04,280 --> 01:03:05,840
Speaker 3: music favorite.

1161
01:03:07,440 --> 01:03:11,760
Speaker 1: That's a soundboard. I want, Oh, okay, I don't want.

1162
01:03:11,840 --> 01:03:13,920
Speaker 1: I don't want. I do not want.

1163
01:03:17,120 --> 01:03:20,200
Speaker 3: For Phil's pastry gorging scene, Bill Murray was offered the

1164
01:03:20,320 --> 01:03:24,440
Speaker 3: use of the customary Hollywood spit bucket, which is a

1165
01:03:24,680 --> 01:03:27,760
Speaker 3: disgusting bit of out of frame movie magic for actors

1166
01:03:27,840 --> 01:03:29,080
Speaker 3: to spit screen.

1167
01:03:28,920 --> 01:03:31,800
Speaker 1: Used foods used food into.

1168
01:03:31,920 --> 01:03:35,040
Speaker 3: Instead of making themselves sick by actually imbibing in food

1169
01:03:35,280 --> 01:03:39,880
Speaker 3: take after take after take. Bill however, declined and actually

1170
01:03:40,080 --> 01:03:42,760
Speaker 3: ate most of what his character did, though he later

1171
01:03:42,840 --> 01:03:45,840
Speaker 3: admitted to getting sick after eating too much angel food cake.

1172
01:03:47,040 --> 01:03:50,240
Speaker 3: It's a story of Elizabeth Taylor's I think it was

1173
01:03:50,280 --> 01:03:52,760
Speaker 3: her third husband died in a plane crash while she

1174
01:03:52,920 --> 01:03:55,360
Speaker 3: was making Cat on a Hot Tin Roof with Paul

1175
01:03:55,480 --> 01:03:58,040
Speaker 3: Newman and the director of the movie I forget his name.

1176
01:03:59,040 --> 01:03:59,720
Speaker 1: She stopped eating.

1177
01:03:59,760 --> 01:04:02,040
Speaker 3: She was so depressed, she just stopped eating, was losing

1178
01:04:02,080 --> 01:04:04,480
Speaker 3: all this weight, and to try to get her to eat,

1179
01:04:05,000 --> 01:04:07,560
Speaker 3: he kept asking for more and more takes of every

1180
01:04:07,680 --> 01:04:08,440
Speaker 3: scene where.

1181
01:04:08,320 --> 01:04:10,120
Speaker 1: She they were having dinner.

1182
01:04:10,200 --> 01:04:11,240
Speaker 3: I think it was a scene where she was like

1183
01:04:11,280 --> 01:04:13,840
Speaker 3: eating cake or something, and he kept asking for more

1184
01:04:13,960 --> 01:04:15,040
Speaker 3: and more and more takes.

1185
01:04:15,120 --> 01:04:17,160
Speaker 1: Is to try to get her to eat. Oh the

1186
01:04:17,280 --> 01:04:20,360
Speaker 1: things we do to women in Hollywood. Well, I think

1187
01:04:20,400 --> 01:04:22,400
Speaker 1: he was trying. He was worried about her. I think

1188
01:04:22,440 --> 01:04:25,400
Speaker 1: he was trying to or he was worried about his dailies.

1189
01:04:26,400 --> 01:04:30,880
Speaker 1: I didn't actually, I didn't think about that. And there

1190
01:04:30,920 --> 01:04:31,800
Speaker 1: in lines the difference.

1191
01:04:32,040 --> 01:04:36,880
Speaker 3: Yes, one of Groundhog Days Hallmark Easter eggs is on

1192
01:04:37,000 --> 01:04:39,400
Speaker 3: display in the diner scenes. You'll notice that all the

1193
01:04:39,560 --> 01:04:43,360
Speaker 3: clocks in the background of the diner are stopped, representing.

1194
01:04:42,880 --> 01:04:46,880
Speaker 1: Phil's whole stuck in time situation. It's all the noose,

1195
01:04:47,000 --> 01:04:48,200
Speaker 1: but it's effective. It's cool.

1196
01:04:49,880 --> 01:04:52,160
Speaker 3: There are also some time related errors in the film,

1197
01:04:52,240 --> 01:04:54,640
Speaker 3: though Bill Murray is actually the one who pointed them out.

1198
01:04:54,640 --> 01:04:56,320
Speaker 3: He said, even though it's sunny out when I wake

1199
01:04:56,400 --> 01:04:58,440
Speaker 3: up every day at six in the morning, in the

1200
01:04:58,520 --> 01:05:01,640
Speaker 3: real punks of Tawny, Pennsylvania, the sun didn't rise until

1201
01:05:01,720 --> 01:05:05,640
Speaker 3: seven twenty five on Groundhog Day, I guess we goofed.

1202
01:05:07,240 --> 01:05:10,880
Speaker 1: Cinema sins. Speaking of the wake up.

1203
01:05:10,880 --> 01:05:14,040
Speaker 3: Seeing the detail of Sonny and shares irrepressible. I Got

1204
01:05:14,120 --> 01:05:17,040
Speaker 3: you Babe greeting Phil on his Eternal Day was apparently

1205
01:05:17,120 --> 01:05:20,280
Speaker 3: in Danny Rubin's script from the beginning. Reubin would later

1206
01:05:20,400 --> 01:05:22,800
Speaker 3: say it was because of the song's unique reprise at

1207
01:05:22,840 --> 01:05:25,600
Speaker 3: the end. He's quoted as saying, if you listen to

1208
01:05:25,640 --> 01:05:27,880
Speaker 3: the recording at the very end that sort of winds

1209
01:05:27,960 --> 01:05:28,960
Speaker 3: down with a big.

1210
01:05:29,000 --> 01:05:33,720
Speaker 1: Slow do it with me A. I hate this song

1211
01:05:33,880 --> 01:05:34,320
Speaker 1: so much.

1212
01:05:34,440 --> 01:05:38,040
Speaker 3: I Got You Babe, and you think it's over, and

1213
01:05:38,120 --> 01:05:40,880
Speaker 3: then it creeps back in I Got you Babe, I

1214
01:05:41,000 --> 01:05:43,520
Speaker 3: Got you Babe, over and over again. I thought this

1215
01:05:43,640 --> 01:05:46,720
Speaker 3: repetition was perfect. The timing never worked out for them

1216
01:05:46,760 --> 01:05:48,360
Speaker 3: to use it in the movie that way, but I

1217
01:05:48,440 --> 01:05:50,800
Speaker 3: guess because it's a love song, and because even though

1218
01:05:50,840 --> 01:05:53,400
Speaker 3: it's catchy would drive you crazy after a while, it

1219
01:05:53,560 --> 01:05:55,600
Speaker 3: was always a good idea it is. It is the

1220
01:05:55,640 --> 01:05:58,240
Speaker 3: perfect song. It's hilarious, oh so annoying.

1221
01:05:59,120 --> 01:06:02,040
Speaker 1: Speaking of the other music in the film, Jordan, that's right.

1222
01:06:02,120 --> 01:06:05,200
Speaker 3: Another fun Bill fact hashtag bill Fax tweeted us folks.

1223
01:06:05,760 --> 01:06:08,040
Speaker 3: When Phil is learning the piano at his teacher's house,

1224
01:06:08,120 --> 01:06:11,360
Speaker 3: he stumbles over Rhapsody on a Theme by Pagnini by

1225
01:06:11,440 --> 01:06:13,320
Speaker 3: Sergei rochmaninoff.

1226
01:06:13,280 --> 01:06:18,600
Speaker 1: Paganini, you philistine. I'll keep that show. What a better

1227
01:06:18,720 --> 01:06:22,360
Speaker 1: musician you are than me, just a more well read one.

1228
01:06:22,680 --> 01:06:27,040
Speaker 1: In certain genres, perhaps Paganini's the guy Paganese really fascinating.

1229
01:06:27,080 --> 01:06:29,760
Speaker 1: He's like the one of the original like sold Is

1230
01:06:29,800 --> 01:06:32,840
Speaker 1: sold to the devil guys, because he was like constantly

1231
01:06:33,120 --> 01:06:35,360
Speaker 1: sick and like on the verge of dying and like

1232
01:06:35,440 --> 01:06:38,760
Speaker 1: a complete wastetroll on stage. But he was. He would

1233
01:06:38,800 --> 01:06:41,240
Speaker 1: do these insane showy bits of He always had this

1234
01:06:41,360 --> 01:06:44,000
Speaker 1: long black cloak and he would do these insane showy

1235
01:06:44,120 --> 01:06:48,440
Speaker 1: bits of you know, showmanship where his he would break

1236
01:06:48,640 --> 01:06:51,200
Speaker 1: one string on his violin at a time and finish

1237
01:06:51,280 --> 01:06:56,240
Speaker 1: an audience on on one string in his joint. He

1238
01:06:56,280 --> 01:06:58,920
Speaker 1: could he could be. He was like double jointed. They

1239
01:06:58,920 --> 01:07:00,800
Speaker 1: think he had more fan it's the same thing that

1240
01:07:01,440 --> 01:07:04,440
Speaker 1: Lincoln had. And so he could make these incredible stretches

1241
01:07:04,520 --> 01:07:08,160
Speaker 1: on violin and so his stuff, his compositions are so

1242
01:07:08,240 --> 01:07:10,520
Speaker 1: tough to play that they've all found like a second

1243
01:07:10,600 --> 01:07:14,360
Speaker 1: life is like Chopbusters for guitar. In fact, in the

1244
01:07:14,880 --> 01:07:18,160
Speaker 1: Paganinese Caprice, I think the eighteenth one is in the

1245
01:07:18,200 --> 01:07:20,840
Speaker 1: movie Crossroads. It's quoted at the end when it's like

1246
01:07:20,880 --> 01:07:23,120
Speaker 1: a recurring thing in the movie that Ralph Macchio's character

1247
01:07:23,720 --> 01:07:25,240
Speaker 1: is trying to learn how to play. And then in

1248
01:07:25,320 --> 01:07:28,880
Speaker 1: the climactic guitar fight between Steve Vi and Ralph Macchio,

1249
01:07:29,760 --> 01:07:33,400
Speaker 1: I think it's might be Ray Cooter, might be Eric Johnson,

1250
01:07:34,080 --> 01:07:38,440
Speaker 1: somebody plays Paganini's caprice and there so quick sidebar and

1251
01:07:38,520 --> 01:07:43,120
Speaker 1: Paganini did you just do that like off of the wow,

1252
01:07:45,280 --> 01:07:47,120
Speaker 1: proving my point I can't even say the guy's name.

1253
01:07:48,240 --> 01:07:50,400
Speaker 3: Well, that's all much more interesting than the hashtag Bill

1254
01:07:50,480 --> 01:07:52,800
Speaker 3: fact I had, which is that that's actually Bill Murray

1255
01:07:52,880 --> 01:07:55,640
Speaker 3: playing that song when he arrives at his piano lesson.

1256
01:07:56,240 --> 01:07:58,480
Speaker 1: Though Bill doesn't read sheet music, he learned most of

1257
01:07:58,560 --> 01:08:00,760
Speaker 1: it by ear. But he's quite a musical cat, you know.

1258
01:08:00,880 --> 01:08:03,800
Speaker 1: He's done performances backed by different musicians live. He has

1259
01:08:03,800 --> 01:08:06,919
Speaker 1: an album out with a cellist. I believe it, really,

1260
01:08:06,960 --> 01:08:12,720
Speaker 1: I know he was like he sings with like Yeah Clapton, Clapton,

1261
01:08:15,360 --> 01:08:18,639
Speaker 1: Danny Ruben and Harold Raimus deliberately omitted the many deaths

1262
01:08:18,760 --> 01:08:22,080
Speaker 1: that Phil describes in the film to keep things appropriate

1263
01:08:22,120 --> 01:08:24,800
Speaker 1: for all ages. Trying to explain what's happening to him

1264
01:08:24,840 --> 01:08:29,120
Speaker 1: to Rita, he states, I've been stabbed, shot, poisoned, frozen, hung, electrocuted,

1265
01:08:29,200 --> 01:08:32,920
Speaker 1: and burned. These have been interpreted as nods to either

1266
01:08:33,000 --> 01:08:40,120
Speaker 1: Grigory Resputin, the famously insane whisperer, to the uh Sar Alexander,

1267
01:08:40,400 --> 01:08:44,559
Speaker 1: who was Nicholas sick? Nicholas, please excuse me, I don't

1268
01:08:44,560 --> 01:08:50,800
Speaker 1: care about Russian culture. S Yeah, except for Gregory Resputant, who,

1269
01:08:51,120 --> 01:08:55,800
Speaker 1: after being you know, granted too much access to the

1270
01:08:55,880 --> 01:08:58,439
Speaker 1: family and running rough shot over all of the women,

1271
01:08:59,760 --> 01:09:04,799
Speaker 1: was poisoned, stabbed, shot, castrated, and drowned and was probably

1272
01:09:04,880 --> 01:09:08,160
Speaker 1: still alive until right at the point when he drowned

1273
01:09:08,240 --> 01:09:09,920
Speaker 1: after being like wrapped in it. Didn't they like wrap

1274
01:09:10,000 --> 01:09:12,120
Speaker 1: him in a carpet too, just to make sure? Yeah?

1275
01:09:12,880 --> 01:09:14,519
Speaker 1: Or this girl to be seen as a reference to

1276
01:09:14,560 --> 01:09:18,280
Speaker 1: Ghostbusters too, or the main villain Vigo. The Carpathian is

1277
01:09:18,360 --> 01:09:24,000
Speaker 1: said to have died after being poisoned, shot, stabbed, hung, stretched, disembowed, drawn,

1278
01:09:24,120 --> 01:09:26,519
Speaker 1: and quartered. You got your pagan any moment I want to,

1279
01:09:26,560 --> 01:09:27,800
Speaker 1: I want to amend my It.

1280
01:09:27,800 --> 01:09:31,120
Speaker 3: Was actually Zary Nicholas the second and it was really

1281
01:09:31,280 --> 01:09:35,720
Speaker 3: his wife, Zariena Alexandria, who who looked to the mad

1282
01:09:35,800 --> 01:09:39,679
Speaker 3: the famous Mad Monk as a as a trusted advisor,

1283
01:09:39,800 --> 01:09:43,040
Speaker 3: and after he was killed, according to legend, his penis

1284
01:09:43,160 --> 01:09:47,080
Speaker 3: was cut off, and then I believe pickled. It was

1285
01:09:47,120 --> 01:09:50,280
Speaker 3: bought for eight thousand dollars and now resides in the

1286
01:09:50,360 --> 01:09:52,400
Speaker 3: Museum of Erotica in Saint Petersburg.

1287
01:09:53,320 --> 01:09:55,160
Speaker 1: And you have sent me a picture of it in

1288
01:09:55,280 --> 01:09:55,679
Speaker 1: the chat.

1289
01:09:55,880 --> 01:09:57,840
Speaker 3: No, I didn't know, as that's Bill Murray playing guitar

1290
01:09:57,920 --> 01:09:59,719
Speaker 3: with Eric Clapton, which is more offensive.

1291
01:10:00,920 --> 01:10:08,240
Speaker 1: Ah, no, that's much worse. Kids. It's because it's because

1292
01:10:08,280 --> 01:10:16,639
Speaker 1: your kid had hemophilia, right, yeah, yeah, man Russians. Despite

1293
01:10:16,680 --> 01:10:18,760
Speaker 1: the deaths being omitted, there was a bit of real

1294
01:10:18,840 --> 01:10:22,639
Speaker 1: life calamity that befell Murray from his Groundhog scene partners,

1295
01:10:23,360 --> 01:10:26,800
Speaker 1: specifically one of them, Scooter, who Murray claimed hated me

1296
01:10:26,880 --> 01:10:30,400
Speaker 1: from day one. In the scene where he abducts Phil

1297
01:10:30,439 --> 01:10:33,520
Speaker 1: and drives off with it, the animal bit him repeatedly

1298
01:10:33,640 --> 01:10:36,920
Speaker 1: through his leather glove, and Murray recalled an interview. I

1299
01:10:36,960 --> 01:10:38,640
Speaker 1: went to the doc and said, hey, I got bit

1300
01:10:38,720 --> 01:10:42,120
Speaker 1: back Groundhog. Should I get a rabies shot? He said, well, no,

1301
01:10:42,880 --> 01:10:45,880
Speaker 1: you mean, I'm not going to get it. Well, no, see,

1302
01:10:45,960 --> 01:10:48,600
Speaker 1: we don't know if groundhogs give rabies. And I'm like,

1303
01:10:49,040 --> 01:10:51,000
Speaker 1: because you don't know, you can't give me a shot.

1304
01:10:51,280 --> 01:10:53,800
Speaker 1: He said, that's right. And what if I get it?

1305
01:10:53,920 --> 01:11:00,120
Speaker 1: Then what he said, then we'll know, won't we. A

1306
01:11:00,760 --> 01:11:04,280
Speaker 1: comedian and character actor Paul ind Uh was the inspiration

1307
01:11:04,360 --> 01:11:06,920
Speaker 1: for one of groundhog Day's best bits. Yes. In one

1308
01:11:06,960 --> 01:11:09,439
Speaker 1: of Lynde's routines, he describes how he once drove through

1309
01:11:09,439 --> 01:11:12,439
Speaker 1: the San Fernando Valley while drunk, and after crashing into

1310
01:11:12,479 --> 01:11:15,080
Speaker 1: a mailbox, was pulled up on by the police, who

1311
01:11:15,160 --> 01:11:17,080
Speaker 1: held him at gunpoint. He leaned out his window and

1312
01:11:17,160 --> 01:11:19,719
Speaker 1: he said to them, I'll have a cheeseburger, hold the onions,

1313
01:11:20,200 --> 01:11:22,080
Speaker 1: and a large sprite. You gotta do it like it.

1314
01:11:22,400 --> 01:11:25,200
Speaker 1: I'll have a cheeseburger, hold the onions and a lart sprout.

1315
01:11:25,680 --> 01:11:26,360
Speaker 1: That's a good pull.

1316
01:11:26,439 --> 01:11:30,000
Speaker 3: Ind No, you got it's gonna quaver alart sprout sprite.

1317
01:11:30,320 --> 01:11:33,400
Speaker 3: Nah No, Now I'm now veering into Katherine Hepburn.

1318
01:11:33,560 --> 01:11:38,760
Speaker 1: Katherine Hepburn, He's a menace. A similar joke was also

1319
01:11:38,840 --> 01:11:42,200
Speaker 1: towed by Shecky Green, involving him driving his car into

1320
01:11:42,200 --> 01:11:45,920
Speaker 1: a Las Vegas fountain, thus fulfilling out long bygone comedians

1321
01:11:45,960 --> 01:11:49,280
Speaker 1: that Jordan is perfectly aware of. For I think he

1322
01:11:49,439 --> 01:11:53,400
Speaker 1: just died. Oh yeah he did. You just have a

1323
01:11:53,520 --> 01:12:00,320
Speaker 1: New Year's Eve? Shecky New Year ninety damn yeah it

1324
01:12:00,360 --> 01:12:00,639
Speaker 1: was time.

1325
01:12:02,040 --> 01:12:04,360
Speaker 3: Sadly, much of Bill Murray's time with Harold Ramis on

1326
01:12:04,400 --> 01:12:07,240
Speaker 3: Groundhog Day was affected by a messy divorce from his

1327
01:12:07,360 --> 01:12:10,960
Speaker 3: first wife. Bill poured himself into the role of Phil,

1328
01:12:11,080 --> 01:12:13,840
Speaker 3: which manifested in him annoying Ramis with all those early

1329
01:12:13,920 --> 01:12:16,360
Speaker 3: morning phone calls we talked about earlier during the script

1330
01:12:16,400 --> 01:12:20,360
Speaker 3: development and contributing new dynamic that ultimately led to their

1331
01:12:20,439 --> 01:12:24,479
Speaker 3: creative split. That difficulty carried into filming.

1332
01:12:25,040 --> 01:12:26,880
Speaker 1: At one point, when he was filming a scene in

1333
01:12:26,920 --> 01:12:30,280
Speaker 1: a car with Andy McDowell, Murray just, according to Ramis,

1334
01:12:30,479 --> 01:12:36,720
Speaker 1: took off for like fifteen minutes, which it doesn't Maybe

1335
01:12:36,720 --> 01:12:39,880
Speaker 1: it doesn't sound like much, but filmmaking when everything's planned

1336
01:12:39,920 --> 01:12:43,559
Speaker 1: like a military maneuver, that screws you up. Yeah, I mean,

1337
01:12:43,720 --> 01:12:47,080
Speaker 1: Jim Cameron freaked out it. Arnold Wurtzenegger for it on

1338
01:12:47,160 --> 01:12:48,559
Speaker 1: the set of True Lives, right.

1339
01:12:49,000 --> 01:12:52,240
Speaker 3: I was thinking about that, Yeah, Harold Ramis, said Bill

1340
01:12:52,280 --> 01:12:56,200
Speaker 3: would be quote irrationally mean and unavailable and was constantly late.

1341
01:12:56,840 --> 01:12:59,200
Speaker 3: Later would recall that he just told Bill just what

1342
01:12:59,320 --> 01:13:01,960
Speaker 3: we tell our chill. You don't have to throw tantrums

1343
01:13:01,960 --> 01:13:04,080
Speaker 3: to get what you want, just say what you want.

1344
01:13:05,479 --> 01:13:07,800
Speaker 3: As we touched on earlier, they clashed heads from the

1345
01:13:07,880 --> 01:13:09,880
Speaker 3: earliest days of the production. When it came to the

1346
01:13:09,960 --> 01:13:13,680
Speaker 3: tone of the movie. Danny Rubin would recall they were

1347
01:13:13,760 --> 01:13:16,240
Speaker 3: like two brothers who weren't getting along, and they were

1348
01:13:16,240 --> 01:13:18,679
Speaker 3: pretty far apart on what the movie was about. Bill

1349
01:13:18,760 --> 01:13:21,839
Speaker 3: wanted it to be more philosophical, and Harold kept reminding

1350
01:13:21,920 --> 01:13:24,000
Speaker 3: him that it was a comedy. There's one scene in

1351
01:13:24,040 --> 01:13:26,200
Speaker 3: the film that you'll never watch again the same way

1352
01:13:26,280 --> 01:13:28,519
Speaker 3: after knowing what we're about to tell you, so we're sorry.

1353
01:13:28,840 --> 01:13:31,519
Speaker 3: It's the scene where Phil is reading to Rita after

1354
01:13:31,640 --> 01:13:35,080
Speaker 3: she falls asleep. That actually happened to Bill Murray. His

1355
01:13:35,200 --> 01:13:37,639
Speaker 3: wife had fallen asleep on their wedding night after drinking

1356
01:13:37,680 --> 01:13:40,600
Speaker 3: too much champagne, and Murray read to her as she

1357
01:13:40,760 --> 01:13:41,719
Speaker 3: slept ouch.

1358
01:13:44,439 --> 01:13:47,160
Speaker 1: The relationship between Murray and Ramis and the rest of

1359
01:13:47,200 --> 01:13:50,080
Speaker 1: production got straight up toxic. In the scene where Phil

1360
01:13:50,120 --> 01:13:52,400
Speaker 1: gets into a snowball fight with a bunch of kids.

1361
01:13:52,760 --> 01:13:55,280
Speaker 1: Harold Ramis directed the kids to pelt Bill as hard

1362
01:13:55,280 --> 01:13:58,479
Speaker 1: as they possibly could with snowballs, and when Bill figured

1363
01:13:58,479 --> 01:14:01,479
Speaker 1: it out, he just started pelting them back. I think

1364
01:14:01,560 --> 01:14:03,760
Speaker 1: Ramis gave him like ice balls too. I think he

1365
01:14:03,840 --> 01:14:07,639
Speaker 1: gave him like he asked Andy McDowell to really slap

1366
01:14:07,760 --> 01:14:11,320
Speaker 1: him in one scene. And according to Harold Ramis's daughter Violet,

1367
01:14:11,520 --> 01:14:14,320
Speaker 1: one day on set, Harold finally lost his temper something

1368
01:14:14,360 --> 01:14:17,040
Speaker 1: he rarely did, and screamed it. Bill grabbed him by

1369
01:14:17,080 --> 01:14:19,760
Speaker 1: the collar and shoved him up against the wall. The

1370
01:14:19,840 --> 01:14:22,280
Speaker 1: two fell out after filming wrapped and didn't speak for like,

1371
01:14:22,400 --> 01:14:26,200
Speaker 1: what twenty years or something like that. Some friends theorized

1372
01:14:26,240 --> 01:14:29,000
Speaker 1: that Murray had come to resent Ramis for his role

1373
01:14:29,080 --> 01:14:32,599
Speaker 1: in helping Murray's star rise. Michael Shamberg, a Hollywood producer

1374
01:14:32,600 --> 01:14:35,360
Speaker 1: who knew Ramis since college and had let Bill Murray

1375
01:14:35,400 --> 01:14:38,879
Speaker 1: sleep on his couch at times, said, Bill owes everything

1376
01:14:38,960 --> 01:14:42,480
Speaker 1: to Harold, and he probably has a thimbleful of gratitude.

1377
01:14:42,640 --> 01:14:45,200
Speaker 3: None of this apparently stopped Harold Ramis from keeping the

1378
01:14:45,320 --> 01:14:48,360
Speaker 3: overcoat that Bill Murray wears in the film. Do you

1379
01:14:48,439 --> 01:14:52,200
Speaker 3: think he smelled it occasionally to remember his friend, And

1380
01:14:52,280 --> 01:14:54,600
Speaker 3: do you think that after Ramis died, Bill got it

1381
01:14:54,720 --> 01:14:58,120
Speaker 3: and then Bill smelled it to remember his friend. Because

1382
01:14:58,160 --> 01:14:59,680
Speaker 3: it had been at Ramis's house for so long, it

1383
01:15:00,040 --> 01:15:01,080
Speaker 3: probably smelled like Ramis.

1384
01:15:01,640 --> 01:15:03,920
Speaker 1: Do you think anyone smelled this coat? Is what I'm

1385
01:15:03,960 --> 01:15:06,720
Speaker 1: asking you. Stop looking at me like that. That's a

1386
01:15:06,800 --> 01:15:11,360
Speaker 1: balid question. You're in a dark place. No, I've got

1387
01:15:11,600 --> 01:15:13,679
Speaker 1: I've gotten into perfumes in the last couple of weeks

1388
01:15:13,760 --> 01:15:16,360
Speaker 1: as a way to trigger memories as a way of

1389
01:15:16,439 --> 01:15:18,439
Speaker 1: time travel. Did I tell you about this? I told

1390
01:15:18,439 --> 01:15:20,720
Speaker 1: you about this? Yeah, yeah, Yeah, you sure did, Bud.

1391
01:15:21,760 --> 01:15:24,000
Speaker 1: You just don't tell me you've gotten into taxidermy at

1392
01:15:24,000 --> 01:15:25,439
Speaker 1: any point, because then I'm really going to do a

1393
01:15:25,479 --> 01:15:31,080
Speaker 1: wellness check. Murray has to continually declined to speak about

1394
01:15:31,080 --> 01:15:33,600
Speaker 1: the feud, although Ramis has It's a huge hole in

1395
01:15:33,680 --> 01:15:36,040
Speaker 1: my life, he said, But there were so many pride

1396
01:15:36,080 --> 01:15:39,000
Speaker 1: issues about reaching out. Bill would give you his kidney

1397
01:15:39,000 --> 01:15:41,280
Speaker 1: if you needed it, but he wouldn't necessarily return your

1398
01:15:41,280 --> 01:15:45,160
Speaker 1: phone calls. A New Yorker reporter named Tad Friend, who

1399
01:15:45,280 --> 01:15:47,160
Speaker 1: was writing a piece about Ramis in two thousand and four,

1400
01:15:47,520 --> 01:15:49,800
Speaker 1: reached Murray after several attempts and told him he was

1401
01:15:49,880 --> 01:15:51,560
Speaker 1: what he was writing about, and that he wanted to

1402
01:15:51,640 --> 01:15:55,200
Speaker 1: interview Bill. Really. Murray responded and asked Fred to call

1403
01:15:55,280 --> 01:15:58,400
Speaker 1: him back in a week. When friend did, Murray said,

1404
01:15:58,640 --> 01:16:01,280
Speaker 1: I've thought about it and I don't have anything to say.

1405
01:16:03,240 --> 01:16:05,519
Speaker 1: Ramos had some really heartbreaking quotes that he gave to

1406
01:16:05,560 --> 01:16:08,800
Speaker 1: the av Club. I've had many dreams about Bill that

1407
01:16:08,880 --> 01:16:11,720
Speaker 1: were friends again. There was a great reunion feeling in

1408
01:16:11,800 --> 01:16:14,720
Speaker 1: those dreams. Bill was a strong man. He was a

1409
01:16:14,840 --> 01:16:17,479
Speaker 1: rock for us. You'd do a movie with Bill, big

1410
01:16:17,600 --> 01:16:19,840
Speaker 1: comedy in those early days, just knowing he could save

1411
01:16:19,920 --> 01:16:22,320
Speaker 1: the day no matter how bad the script was, that

1412
01:16:22,400 --> 01:16:26,040
Speaker 1: we'd find something through improvisation that was our alliance, kind

1413
01:16:26,080 --> 01:16:28,240
Speaker 1: of our big bond. I could help him be the

1414
01:16:28,320 --> 01:16:30,320
Speaker 1: best funny Bill Murray he could be, And I think

1415
01:16:30,320 --> 01:16:33,120
Speaker 1: he appreciated that then. And I don't know where that went,

1416
01:16:33,439 --> 01:16:36,479
Speaker 1: but it's there on film. So whatever happens between us

1417
01:16:36,520 --> 01:16:41,360
Speaker 1: in the future, at least we have those expressions. Man,

1418
01:16:42,400 --> 01:16:44,000
Speaker 1: that's so sad. It's really sad.

1419
01:16:45,200 --> 01:16:47,920
Speaker 3: Well, there's at least one grace note to this sad story.

1420
01:16:48,960 --> 01:16:52,040
Speaker 3: Brian Doyle, Murray, Bill's brother, convinced Bill to visit Ramis

1421
01:16:52,120 --> 01:16:54,360
Speaker 3: as he lay dying at his North Shore home in

1422
01:16:54,439 --> 01:16:58,880
Speaker 3: twenty fourteen, where Murray showed up with a police escort

1423
01:16:59,000 --> 01:16:59,559
Speaker 3: and donuts.

1424
01:16:59,640 --> 01:17:00,519
Speaker 1: Early morning.

1425
01:17:01,360 --> 01:17:05,040
Speaker 3: The two spoke of their beloved Chicago cubs and reportedly

1426
01:17:05,120 --> 01:17:05,960
Speaker 3: buried the hatchet.

1427
01:17:06,640 --> 01:17:09,360
Speaker 1: When Ramis died later that year, Murray's statement summed up

1428
01:17:09,400 --> 01:17:12,720
Speaker 1: their collaborations and added, simply here and just keep on

1429
01:17:12,800 --> 01:17:14,680
Speaker 1: this planet. God bless him.

1430
01:17:15,680 --> 01:17:18,559
Speaker 3: And then a week later, at the Oscars in twenty fourteen,

1431
01:17:18,680 --> 01:17:22,840
Speaker 3: while presenting Best Cinematography, Murray read the list of nominees

1432
01:17:22,920 --> 01:17:28,040
Speaker 3: before adding, oh, and we forgot one Harold Ramis for Caddyshack, Ghostbusters,

1433
01:17:28,080 --> 01:17:32,960
Speaker 3: and groundhog Day, which is really sweet. For years, Bill

1434
01:17:33,040 --> 01:17:35,799
Speaker 3: Murray claimed to dislike groundhog Day, but in an interview

1435
01:17:35,840 --> 01:17:40,439
Speaker 3: after Ramis's death, is feeling apparently softened, he would describe

1436
01:17:40,479 --> 01:17:44,280
Speaker 3: it as an extraordinary movie and the execution was really good.

1437
01:17:45,439 --> 01:17:47,799
Speaker 3: Coming from the Murricane, this was high praise.

1438
01:17:48,280 --> 01:17:50,400
Speaker 1: I don't know if this anecdotical count as a palate cleanser,

1439
01:17:50,520 --> 01:17:54,320
Speaker 1: but regardless, here we go. Actor Michael Shannon of The

1440
01:17:54,439 --> 01:17:56,400
Speaker 1: Intense Bug Eyes. Do you ever tell you I say

1441
01:17:56,400 --> 01:17:58,720
Speaker 1: aled down in the subway one time? No, it was

1442
01:17:58,800 --> 01:18:01,280
Speaker 1: right after he'd been in the Super movie where he

1443
01:18:01,320 --> 01:18:04,120
Speaker 1: played General Zod, and it was just like me and

1444
01:18:04,200 --> 01:18:05,439
Speaker 1: him and a few other people in the car. I

1445
01:18:05,520 --> 01:18:08,439
Speaker 1: was riding like the middle of the day and we

1446
01:18:08,560 --> 01:18:14,240
Speaker 1: made eye contact nice and I like silently mouthed the

1447
01:18:14,360 --> 01:18:18,519
Speaker 1: words kneel before Zod did he react. He looked away

1448
01:18:18,560 --> 01:18:21,639
Speaker 1: in disgusted. Ah. I think it was like right after

1449
01:18:21,720 --> 01:18:23,280
Speaker 1: the movie had come out and was just getting panned.

1450
01:18:25,400 --> 01:18:28,680
Speaker 1: That's my celebrity story. Anyway, Shannon played the role of

1451
01:18:28,680 --> 01:18:29,920
Speaker 1: Fred in the film, and he was a big fan

1452
01:18:29,960 --> 01:18:31,680
Speaker 1: of Bill Murray, so he was realizing one of his

1453
01:18:31,760 --> 01:18:33,760
Speaker 1: dreams by working with him, and this was his first

1454
01:18:33,840 --> 01:18:36,519
Speaker 1: movie to boot. One day, he saw Bill listening to

1455
01:18:36,560 --> 01:18:39,280
Speaker 1: the Talking Heads on his boombox between takes and asked

1456
01:18:39,320 --> 01:18:41,960
Speaker 1: an obviously dumb in retrospect question about whether or not

1457
01:18:42,080 --> 01:18:45,280
Speaker 1: he liked the band. Murray then supposedly said something that

1458
01:18:45,360 --> 01:18:47,760
Speaker 1: made Shannon realize what a stupid question that had been.

1459
01:18:49,080 --> 01:18:51,040
Speaker 1: He said in an interview, So then I was crushed.

1460
01:18:51,200 --> 01:18:54,000
Speaker 1: I was devastated and I was moping around. One day,

1461
01:18:54,240 --> 01:18:56,320
Speaker 1: Harold Ramis during lunch asked me to come play pool

1462
01:18:56,360 --> 01:18:58,040
Speaker 1: with him because he liked to play pool during breaks.

1463
01:18:58,320 --> 01:19:00,920
Speaker 1: We were talking and he said, yeah, having fun and

1464
01:19:01,000 --> 01:19:02,920
Speaker 1: I said, yeah, but I feel really bad. I think

1465
01:19:02,960 --> 01:19:05,360
Speaker 1: I said something really stupid to mister Murray. I told

1466
01:19:05,439 --> 01:19:07,320
Speaker 1: him the story and I basically said, I don't think

1467
01:19:07,400 --> 01:19:10,200
Speaker 1: mister Murray likes me very much. And Harold said, no, no, no, no,

1468
01:19:10,320 --> 01:19:11,840
Speaker 1: don't worry about that. I'm sure you just caught him

1469
01:19:11,840 --> 01:19:13,840
Speaker 1: at a bad time or something. So when we were

1470
01:19:13,880 --> 01:19:16,120
Speaker 1: finally and I've been hanging around for two weeks, when

1471
01:19:16,120 --> 01:19:17,800
Speaker 1: we finally get to the reason I was actually there,

1472
01:19:17,840 --> 01:19:19,439
Speaker 1: which was to shoot the scene in the dance at

1473
01:19:19,439 --> 01:19:20,960
Speaker 1: the end. For most of the shoot, I had to

1474
01:19:20,960 --> 01:19:22,559
Speaker 1: be in the restaurant every time there was a scene there,

1475
01:19:22,560 --> 01:19:24,280
Speaker 1: even though ninety percent of the time the camera wasn't

1476
01:19:24,280 --> 01:19:26,280
Speaker 1: even pointed in my direction. They just wanted all the

1477
01:19:26,320 --> 01:19:29,000
Speaker 1: same people in the restaurant. Anyway, we finally get to

1478
01:19:29,040 --> 01:19:30,640
Speaker 1: the big dance scene and I'm really excited because I'm

1479
01:19:30,640 --> 01:19:32,960
Speaker 1: finally going to get to do some acting. And we're rehearsing,

1480
01:19:33,040 --> 01:19:35,040
Speaker 1: and Bill Murray Andy McDowell are going around to all

1481
01:19:35,080 --> 01:19:37,679
Speaker 1: the different people and they come to us and Harold

1482
01:19:37,760 --> 01:19:41,519
Speaker 1: comes up and he says, now, before we rehearse this scene,

1483
01:19:41,640 --> 01:19:44,120
Speaker 1: I want Bill to say something, and Bill turned to

1484
01:19:44,200 --> 01:19:46,800
Speaker 1: me and he was like, I like you, Mike, I'm

1485
01:19:46,840 --> 01:19:49,240
Speaker 1: not upset with you. I'm sorry if you thought I

1486
01:19:49,360 --> 01:19:52,080
Speaker 1: was upset with you. Harold Ramis had gone to Bill

1487
01:19:52,160 --> 01:19:54,000
Speaker 1: Murray and told him that he had hurt my feelings.

1488
01:19:54,600 --> 01:19:56,400
Speaker 1: It was really one of the strangest things that ever

1489
01:19:56,479 --> 01:20:02,320
Speaker 1: happened to me. I couldn't believe it. Mortified. I would

1490
01:20:02,360 --> 01:20:04,439
Speaker 1: be because the way that Bill Murray would deliver that

1491
01:20:04,560 --> 01:20:07,479
Speaker 1: you couldn't tell if he was being passive aggressive or not. Oh,

1492
01:20:07,560 --> 01:20:10,760
Speaker 1: I'm like hearing me hearing Bill Murray say I like you,

1493
01:20:11,040 --> 01:20:13,360
Speaker 1: I'm not mad at you, could be the most devastating

1494
01:20:13,439 --> 01:20:17,760
Speaker 1: thing that ever happened. That's so weird that, I mean,

1495
01:20:17,800 --> 01:20:20,800
Speaker 1: I guess that's the perfect I guess. Yeah, yeah, well

1496
01:20:21,800 --> 01:20:24,880
Speaker 1: I don't know. I it's a part of me that

1497
01:20:24,920 --> 01:20:27,519
Speaker 1: thinks he made it. They were just playing sick mind games. Yeah,

1498
01:20:28,000 --> 01:20:28,920
Speaker 1: you're right, you're right.

1499
01:20:29,160 --> 01:20:31,439
Speaker 3: Yeah, it probably came out during an argument. You're making

1500
01:20:31,479 --> 01:20:33,960
Speaker 3: the whole cast feel shy. And you, guys, this person,

1501
01:20:34,120 --> 01:20:37,840
Speaker 3: damn movie, he loves you. He broke his heart. That's

1502
01:20:37,960 --> 01:20:40,080
Speaker 3: kind of nuts that he was. I mean, I guess

1503
01:20:40,120 --> 01:20:42,160
Speaker 3: that makes sense. But for continuity reasons. They just wanted

1504
01:20:42,160 --> 01:20:44,160
Speaker 3: everybody in the restaurant. But it's kind of nutsy he

1505
01:20:44,240 --> 01:20:46,200
Speaker 3: was hanging around. He had like four lines and was

1506
01:20:46,240 --> 01:20:49,040
Speaker 3: hanging around for two weeks. And also it's kind of

1507
01:20:49,080 --> 01:20:51,680
Speaker 3: cool Ramis to just like go play pool with a

1508
01:20:52,640 --> 01:20:56,160
Speaker 3: kind of a glorified extra. Basically, yeah, I like that.

1509
01:20:57,479 --> 01:20:59,639
Speaker 3: I've never heard anything but great things about Harold Ramis.

1510
01:21:00,280 --> 01:21:00,519
Speaker 1: Same.

1511
01:21:00,920 --> 01:21:03,479
Speaker 3: Yeah, Well, now we're going to talk about the end

1512
01:21:03,560 --> 01:21:06,639
Speaker 3: of the movie, when Phil breaks the spell and wakes

1513
01:21:06,720 --> 01:21:09,640
Speaker 3: up with what I can only assume to be the

1514
01:21:09,680 --> 01:21:13,200
Speaker 3: love of his life. They shot twenty five takes of

1515
01:21:13,320 --> 01:21:15,639
Speaker 3: the closing scene when Phil wakes up next to Rita

1516
01:21:15,760 --> 01:21:18,680
Speaker 3: he's freed from his time loop, and I shot so

1517
01:21:18,760 --> 01:21:20,639
Speaker 3: many because no one was sure how the scene would

1518
01:21:20,680 --> 01:21:24,600
Speaker 3: actually play, and Bill actually refused to even shoot the

1519
01:21:24,640 --> 01:21:26,800
Speaker 3: scene at all, and t was decided whether or not

1520
01:21:27,080 --> 01:21:30,880
Speaker 3: Phil should be wearing pajamas. Apparently, the debate over the

1521
01:21:31,040 --> 01:21:34,800
Speaker 3: did they or didn't they Phil and Rita moment became

1522
01:21:34,840 --> 01:21:37,760
Speaker 3: a source of debate around the cast and crew to

1523
01:21:38,040 --> 01:21:40,120
Speaker 3: spell it out. They wasn't sure if he should be

1524
01:21:40,160 --> 01:21:41,840
Speaker 3: wearing just what he was wearing the night before, the

1525
01:21:41,880 --> 01:21:43,600
Speaker 3: clothes he was wearing the night before, or if they

1526
01:21:43,640 --> 01:21:46,439
Speaker 3: should be naked in loving embrace.

1527
01:21:46,840 --> 01:21:49,200
Speaker 1: I'm just watching you die, trying to get out over

1528
01:21:49,240 --> 01:21:52,800
Speaker 1: this bit of minor sexual arcana, like I see the

1529
01:21:52,880 --> 01:21:57,040
Speaker 1: flop sweat forming on your brow. The debate was whether

1530
01:21:57,120 --> 01:22:00,360
Speaker 1: or not the characters had sex finish reading.

1531
01:22:03,640 --> 01:22:05,880
Speaker 3: Harold Ramis ended up putting it to a vote among

1532
01:22:05,960 --> 01:22:09,040
Speaker 3: the cast and crew, which ended in a tie, and

1533
01:22:09,120 --> 01:22:12,600
Speaker 3: according to Stephen Tobolski aka Ned Ryerson, it was a

1534
01:22:12,640 --> 01:22:14,920
Speaker 3: young woman in the crew who broke the tie. As

1535
01:22:15,000 --> 01:22:17,120
Speaker 3: he told the story, one girl in the movie. It

1536
01:22:17,200 --> 01:22:19,799
Speaker 3: was her first film. She was the assistant set director.

1537
01:22:19,920 --> 01:22:23,160
Speaker 3: She raised her hand and said, he is absolutely wearing

1538
01:22:23,240 --> 01:22:24,759
Speaker 3: the clothes he wore the night before.

1539
01:22:25,320 --> 01:22:27,400
Speaker 1: If he's not wearing the clothes he wore the night before,

1540
01:22:27,520 --> 01:22:30,800
Speaker 1: it will ruin the movie. That's my vote. So Harold

1541
01:22:30,880 --> 01:22:32,800
Speaker 1: Ramis said, then that's what we're gonna do.

1542
01:22:34,280 --> 01:22:36,439
Speaker 3: I you know, I gotta say I hadn't considered the

1543
01:22:36,520 --> 01:22:39,759
Speaker 3: full impact of the film's ending until researching this episode.

1544
01:22:40,479 --> 01:22:43,360
Speaker 3: Danny Ruman describes it by saying that on February third,

1545
01:22:43,479 --> 01:22:48,040
Speaker 3: the day after Groundhog Day, Phil loses his superpowers and

1546
01:22:48,320 --> 01:22:51,479
Speaker 3: something I never really considered he may suffer disappointment that

1547
01:22:51,720 --> 01:22:53,800
Speaker 3: no day for the rest of his life will ever

1548
01:22:53,960 --> 01:22:58,440
Speaker 3: live up to his final perfect Groundhog Day. Stephen Tobolski

1549
01:22:58,520 --> 01:23:02,040
Speaker 3: aka ned Ryerson up the movies Catharsis very well. He said,

1550
01:23:02,680 --> 01:23:06,280
Speaker 3: the greatest gift for Phil is to become finite again.

1551
01:23:07,160 --> 01:23:09,880
Speaker 3: He's gonna die, he's going to age, time is going

1552
01:23:09,960 --> 01:23:12,479
Speaker 3: to go on, but now he is the keys to.

1553
01:23:12,640 --> 01:23:16,439
Speaker 1: Use his time. Well that's beautiful. Yeah, I really like that.

1554
01:23:17,200 --> 01:23:20,560
Speaker 3: So speaking of time, speaking of time, give us a

1555
01:23:20,600 --> 01:23:23,599
Speaker 3: brief history of time. There are thirty eight.

1556
01:23:23,520 --> 01:23:26,400
Speaker 1: Different days depicted in the movie, which couldn't possibly account

1557
01:23:26,400 --> 01:23:29,320
Speaker 1: for everything, even mentioned in different lines. The total amount

1558
01:23:29,360 --> 01:23:31,560
Speaker 1: of time Phil spent in the Loop isn't explained in

1559
01:23:31,680 --> 01:23:34,840
Speaker 1: the film, but on the DVD commentary, Ramis said that

1560
01:23:34,960 --> 01:23:38,240
Speaker 1: Phil lived that day for ten thousand years and then

1561
01:23:38,280 --> 01:23:42,719
Speaker 1: whirled it down to round ten. Give it ten. Yeah. Yeah.

1562
01:23:43,160 --> 01:23:45,479
Speaker 1: He's also said thirty or forty years. The ten thousand

1563
01:23:45,760 --> 01:23:49,080
Speaker 1: years thing comes from Buddhist doctrine claims that it takes

1564
01:23:49,160 --> 01:23:51,639
Speaker 1: that long for soul to evolve to the next level.

1565
01:23:52,760 --> 01:23:55,519
Speaker 1: Ramis married a Buddhist woman and obviously picked up on

1566
01:23:55,600 --> 01:24:00,879
Speaker 1: some of it. I said it's rounds, that's handy. Meanwhile,

1567
01:24:01,240 --> 01:24:03,240
Speaker 1: in an early draft of the script, Reuben said that

1568
01:24:03,280 --> 01:24:05,960
Speaker 1: it was really seventy or eighty years. Of course, this

1569
01:24:06,080 --> 01:24:08,360
Speaker 1: being the Internet age, fans have taken upon themselves to

1570
01:24:08,400 --> 01:24:11,200
Speaker 1: figure this out, with estimates ranging from eight years, eight months,

1571
01:24:11,240 --> 01:24:13,840
Speaker 1: and sixteen days to twelve years, four hundred and three days,

1572
01:24:15,000 --> 01:24:19,840
Speaker 1: or I guess thirteen years. And I don't know why

1573
01:24:19,920 --> 01:24:22,479
Speaker 1: that's written like that. I'm sorry, I don't I wasn't

1574
01:24:22,479 --> 01:24:25,559
Speaker 1: trying to foil you. I have no idea. Simon Gallier

1575
01:24:25,640 --> 01:24:30,400
Speaker 1: from WhatCulture dot Com ran a thorough investigation claiming that

1576
01:24:30,439 --> 01:24:32,040
Speaker 1: the time it would have taken for Phil to become

1577
01:24:32,080 --> 01:24:36,360
Speaker 1: a virtuoso pianist, fluent French speaker, and professional ife sculptor

1578
01:24:36,640 --> 01:24:39,840
Speaker 1: amid all his other escapades would have run nearly thirty

1579
01:24:39,960 --> 01:24:43,400
Speaker 1: four years. We watched thirty eight days. Another four hundred

1580
01:24:43,400 --> 01:24:46,519
Speaker 1: and fourteen days are mentioned, and Gallagher then used Malcolm

1581
01:24:46,520 --> 01:24:49,439
Speaker 1: Gladwell's ten thousand hours of mastery theory to tally the rest.

1582
01:24:50,400 --> 01:24:52,920
Speaker 1: In fact, it could have been longer, assuming that Phil

1583
01:24:52,960 --> 01:24:55,559
Speaker 1: spent a number of days simply lying in bed, steeping

1584
01:24:55,640 --> 01:25:02,400
Speaker 1: in existential anguish. Thirty four years yea, the Mash's our age.

1585
01:25:03,320 --> 01:25:06,639
Speaker 1: Yeah right. The Mash YouTube channel broke it down, thusly

1586
01:25:06,800 --> 01:25:10,080
Speaker 1: basing it an average learning curve, meaning that they assumed

1587
01:25:10,120 --> 01:25:13,280
Speaker 1: Phil has an average ability to acquire and retain knowledge,

1588
01:25:13,560 --> 01:25:16,600
Speaker 1: and also assuming that rather than a chief virtuosity in

1589
01:25:16,600 --> 01:25:20,840
Speaker 1: any of these things, he's just being really good at

1590
01:25:20,920 --> 01:25:24,280
Speaker 1: one thing, like memorizing one song really well, or memorizing

1591
01:25:24,360 --> 01:25:27,400
Speaker 1: French phrases really well. So they said, he's seen a

1592
01:25:27,479 --> 01:25:29,600
Speaker 1: movie one hundred times, took him six months to do

1593
01:25:29,840 --> 01:25:32,120
Speaker 1: how to throw cards. He lists the ways that he's died.

1594
01:25:32,520 --> 01:25:34,320
Speaker 1: They estimate how many days it would take to learn

1595
01:25:34,400 --> 01:25:38,280
Speaker 1: the timing of the events, so memorizing jeopardy, for example,

1596
01:25:38,960 --> 01:25:43,120
Speaker 1: committing the perfect crimes. There are various day counts with

1597
01:25:43,280 --> 01:25:45,800
Speaker 1: the and here's what it says. They conservatively estimate that

1598
01:25:45,920 --> 01:25:49,200
Speaker 1: getting to know Rito would take one thousand days, or

1599
01:25:49,360 --> 01:25:53,360
Speaker 1: under three years. So they put the grand total at

1600
01:25:53,560 --> 01:25:56,719
Speaker 1: four five hundred and seventy six days, or twelve years,

1601
01:25:56,880 --> 01:25:59,320
Speaker 1: six months, and eleven days, which puts you back into

1602
01:25:59,360 --> 01:26:03,920
Speaker 1: Harold Ramis's original timeframe. So yeah, let's see between twelve

1603
01:26:04,040 --> 01:26:09,679
Speaker 1: and thirty four years. Relatedly, the original cut of Groundhog

1604
01:26:09,760 --> 01:26:13,480
Speaker 1: Day was over three hours long, which obviously the filmmakers

1605
01:26:13,800 --> 01:26:16,479
Speaker 1: decided to trim down to a more manageable length in

1606
01:26:16,600 --> 01:26:17,080
Speaker 1: the edit.

1607
01:26:17,439 --> 01:26:20,360
Speaker 3: Yes, the version that was released was much shorter. And

1608
01:26:20,439 --> 01:26:23,120
Speaker 3: now we're gonna talk about the release of the film because.

1609
01:26:23,200 --> 01:26:28,120
Speaker 1: Say we like to call Getting That Hog Out. I

1610
01:26:28,360 --> 01:26:30,479
Speaker 1: you know, I feel really bad. You gave some really

1611
01:26:30,640 --> 01:26:33,720
Speaker 1: incredible section headings to this outline and I haven't read

1612
01:26:33,800 --> 01:26:36,160
Speaker 1: any of them. I feel as though I should go

1613
01:26:36,280 --> 01:26:39,519
Speaker 1: back hogs Well, that ends well for the ending segment,

1614
01:26:40,320 --> 01:26:43,719
Speaker 1: the hog will rise again. Hogging Out with Nick Cannon

1615
01:26:44,120 --> 01:26:48,040
Speaker 1: Those good Lords of Hogtown was very good. Check out

1616
01:26:48,080 --> 01:26:51,160
Speaker 1: my hog cast is probably my favorite for obvious reasons,

1617
01:26:51,880 --> 01:26:55,000
Speaker 1: like Hogger versus Hogger, like Kramer versus Kramer. That was good.

1618
01:26:55,080 --> 01:26:57,400
Speaker 1: That was good. I know when that hog line bling

1619
01:26:57,760 --> 01:27:01,960
Speaker 1: was good? Who at the is probably my favorite low

1620
01:27:02,000 --> 01:27:03,160
Speaker 1: hanging fruit, but I had to do it.

1621
01:27:03,800 --> 01:27:08,439
Speaker 3: Howg'spirations not the best, but I appreciate the theme no

1622
01:27:08,520 --> 01:27:09,640
Speaker 3: bad ideas and brainstorming.

1623
01:27:09,800 --> 01:27:12,519
Speaker 1: Yeah but okay, yeah, Getting that Hog Out.

1624
01:27:12,560 --> 01:27:15,439
Speaker 3: We're getting groundhog out into the world, getting Groundhog Day

1625
01:27:15,479 --> 01:27:19,040
Speaker 3: out in the world. Because Groundhog Day is only celebrated

1626
01:27:19,080 --> 01:27:22,040
Speaker 3: in the USA and Canada, which I didn't realize international

1627
01:27:22,120 --> 01:27:25,920
Speaker 3: countries had to translate the title differently because locals wouldn't

1628
01:27:25,920 --> 01:27:28,800
Speaker 3: know what the hell groundhog Day meant? Does anybody really

1629
01:27:28,880 --> 01:27:30,000
Speaker 3: know what groundhog Day means?

1630
01:27:31,240 --> 01:27:32,240
Speaker 1: In Sweden the.

1631
01:27:32,280 --> 01:27:36,120
Speaker 3: Movie translates to Monday the entire week, and although the

1632
01:27:36,160 --> 01:27:38,040
Speaker 3: film never clarified what day of the week it is,

1633
01:27:38,400 --> 01:27:41,599
Speaker 3: most fans speculate that it's Tuesday, the date of Groundhog Day.

1634
01:27:41,600 --> 01:27:45,400
Speaker 3: In nineteen ninety three, the German movie Well, wait a minute,

1635
01:27:45,400 --> 01:27:47,479
Speaker 3: it was the year before, which is really you know

1636
01:27:47,479 --> 01:27:49,120
Speaker 3: a movie came out in nineteen ninety three. If it

1637
01:27:49,200 --> 01:27:52,240
Speaker 3: was the year before, when people using their common sense

1638
01:27:52,280 --> 01:27:54,040
Speaker 3: would assume the movie was made, I think.

1639
01:27:53,960 --> 01:27:55,960
Speaker 1: Groundhog Day would have been on Monday that year. So

1640
01:27:56,080 --> 01:28:00,639
Speaker 1: it works. Swedes never get it wrong. Oh ii, kia,

1641
01:28:00,760 --> 01:28:01,599
Speaker 1: look at it. It's great.

1642
01:28:02,240 --> 01:28:05,720
Speaker 3: The German movie title is the Groundhog greets every Day.

1643
01:28:06,040 --> 01:28:08,040
Speaker 3: I would love to know how that set in German,

1644
01:28:09,200 --> 01:28:14,479
Speaker 3: probably in a foreboding, somewhat sinister fashion. And after the

1645
01:28:14,520 --> 01:28:18,160
Speaker 3: movie debuted this phrase, the groundhog greets every day became

1646
01:28:18,240 --> 01:28:22,160
Speaker 3: a humorous proverb for Germans, meaning something that is frequently repeated,

1647
01:28:22,520 --> 01:28:25,280
Speaker 3: particularly something irritating and awkward. I mean It's kind of

1648
01:28:25,320 --> 01:28:27,599
Speaker 3: like how in this country groundhog Days become an expression.

1649
01:28:28,640 --> 01:28:34,040
Speaker 3: Brazilians know the film as spell of Weather, and the

1650
01:28:34,120 --> 01:28:38,040
Speaker 3: French predictably took the most hardline existentialist route by calling

1651
01:28:38,080 --> 01:28:42,160
Speaker 3: it a day without end my favorite Sartrek book.

1652
01:28:42,479 --> 01:28:42,719
Speaker 1: Yeah.

1653
01:28:43,880 --> 01:28:47,640
Speaker 3: Funnily enough, the film wasn't actually released on Groundhog Day

1654
01:28:47,640 --> 01:28:50,799
Speaker 3: in nineteen ninety three, an honor that you note instead

1655
01:28:50,840 --> 01:28:54,000
Speaker 3: went to Whole word Bound, a movie I saw with

1656
01:28:54,120 --> 01:28:57,240
Speaker 3: my father and cried during an experience that taught me

1657
01:28:57,320 --> 01:29:00,599
Speaker 3: about shame. Well, I mean, you did they do plan

1658
01:29:00,720 --> 01:29:02,639
Speaker 3: this stuff? So you have to wonder that was coming out?

1659
01:29:02,760 --> 01:29:05,120
Speaker 3: Was that Touchstone or Disney? They must have I think

1660
01:29:05,160 --> 01:29:05,719
Speaker 3: it was Disney.

1661
01:29:06,280 --> 01:29:08,759
Speaker 1: Yeah, so somebody must have figured, don't put your family

1662
01:29:08,840 --> 01:29:12,439
Speaker 1: film in against Disney's. When did it come out? Came

1663
01:29:12,479 --> 01:29:16,000
Speaker 1: out and like, do you know something, Nah, it came

1664
01:29:16,080 --> 01:29:18,800
Speaker 1: out a week after Groundhog Day. We came out like

1665
01:29:18,880 --> 01:29:20,280
Speaker 1: ten days or something afterwards.

1666
01:29:20,360 --> 01:29:25,000
Speaker 3: Yeah, the film was of course a hit because, as

1667
01:29:25,120 --> 01:29:30,479
Speaker 3: you mentioned and I echo, it's perfect. It grows nearly

1668
01:29:30,560 --> 01:29:33,240
Speaker 3: seventy one million dollars domestically and one hundred and five

1669
01:29:33,320 --> 01:29:36,920
Speaker 3: million dollars worldwide, which is many orders of magnitude passed

1670
01:29:36,920 --> 01:29:39,880
Speaker 3: its budget, though, as you know, that's a tricky stat

1671
01:29:40,000 --> 01:29:43,320
Speaker 3: since budget estimates range from fourteen point six million to

1672
01:29:43,520 --> 01:29:47,000
Speaker 3: thirty million. We do know the box office returns, though,

1673
01:29:47,040 --> 01:29:50,519
Speaker 3: and it made seventy point nine million domestically and one

1674
01:29:50,640 --> 01:29:55,360
Speaker 3: hundred and five million dollars worldwide. Pretty good, not bad,

1675
01:29:55,600 --> 01:30:00,560
Speaker 3: not bad. Critics loved it initially and continue to reappraisal

1676
01:30:00,600 --> 01:30:02,920
Speaker 3: of the movie. Roger Ebert wrote, groundhog Day is a

1677
01:30:03,000 --> 01:30:06,280
Speaker 3: film that finds its note and purpose so precisely that

1678
01:30:06,439 --> 01:30:09,960
Speaker 3: its genius may not be immediately noticeable. I said at

1679
01:30:10,000 --> 01:30:13,240
Speaker 3: the top, me and Ebert, it unfolds so inevitably, is

1680
01:30:13,360 --> 01:30:17,280
Speaker 3: so entertaining, so apparently effortless, that you have to stand

1681
01:30:17,400 --> 01:30:19,960
Speaker 3: back and slap yourself before you see how good it

1682
01:30:20,080 --> 01:30:20,560
Speaker 3: really is.

1683
01:30:21,240 --> 01:30:22,160
Speaker 1: Could not agree more.

1684
01:30:23,320 --> 01:30:25,280
Speaker 3: At the time, Hollywood had just come out of an

1685
01:30:25,400 --> 01:30:27,800
Speaker 3: arrow when it had been heavily criticized for sex and

1686
01:30:27,920 --> 01:30:31,519
Speaker 3: violence portrayed in mainstream blockbusters. So course, correcting to a

1687
01:30:31,680 --> 01:30:35,800
Speaker 3: broader family film was inevitable from both cultural and business standpoints,

1688
01:30:36,479 --> 01:30:39,640
Speaker 3: because as production costs rose, anything that appealed to a

1689
01:30:39,720 --> 01:30:42,400
Speaker 3: broader audience would make more money in both theaters and

1690
01:30:42,560 --> 01:30:46,880
Speaker 3: home rentals and purchases. By nineteen ninety three, the three

1691
01:30:46,960 --> 01:30:49,840
Speaker 3: all time highest grossing films in North America were Family

1692
01:30:49,920 --> 01:30:54,200
Speaker 3: Oriented et the Extraterrestrial Star Wars, which I don't know

1693
01:30:54,240 --> 01:30:57,639
Speaker 3: if the classify as family oriented but okay, and Home Alone.

1694
01:30:57,840 --> 01:31:00,559
Speaker 1: That's hilarious. It's self fund to me much money? Home

1695
01:31:00,560 --> 01:31:02,000
Speaker 1: Alone made? Yeah? Right.

1696
01:31:02,160 --> 01:31:05,439
Speaker 3: Columbia Pictures chairman Mark Canton said that pg's rated films

1697
01:31:05,479 --> 01:31:07,759
Speaker 3: were much more likely to make over one hundred million

1698
01:31:07,880 --> 01:31:11,519
Speaker 3: compared to adult oriented fare, so groundhog Day was rated PG,

1699
01:31:11,800 --> 01:31:13,720
Speaker 3: and the film's buzz seemed to position it as a

1700
01:31:13,760 --> 01:31:17,200
Speaker 3: potential sleeper success. Groundhog Day was one of many family

1701
01:31:17,280 --> 01:31:20,439
Speaker 3: films released in nineteen ninety three, including Free Willie, Last

1702
01:31:20,479 --> 01:31:24,080
Speaker 3: Action Hero, and the highly anticipated Jurassic Park, which will

1703
01:31:24,120 --> 01:31:26,080
Speaker 3: go on to become the highest grossing film.

1704
01:31:25,840 --> 01:31:29,160
Speaker 1: For a few years before Star Wars came back. Yet

1705
01:31:29,320 --> 01:31:32,400
Speaker 1: no less an authority than screenwriting legend William Goldman said

1706
01:31:32,439 --> 01:31:34,920
Speaker 1: in nineteen ninety three, I think groundhog Day is the

1707
01:31:35,000 --> 01:31:37,240
Speaker 1: one that will be of all the movies that came

1708
01:31:37,280 --> 01:31:39,479
Speaker 1: out this last year. It's the one that we'll be

1709
01:31:39,600 --> 01:31:42,599
Speaker 1: remembered in ten years. As we tostd on earlier Bill

1710
01:31:42,680 --> 01:31:45,280
Speaker 1: Murray was initially unhappy with the finished film. In a

1711
01:31:45,320 --> 01:31:47,479
Speaker 1: nineteen ninety three interview, he said that he wanted to

1712
01:31:47,560 --> 01:31:50,160
Speaker 1: focus on the comedy and the underlying theme of people

1713
01:31:50,280 --> 01:31:53,519
Speaker 1: repeating their lives out of fear of change, while Harold

1714
01:31:53,600 --> 01:31:56,160
Speaker 1: Ramis wanted to focus on the redeeming power of love.

1715
01:31:56,880 --> 01:31:59,599
Speaker 1: That we eventually conceded that Ramis had ultimately been right

1716
01:31:59,680 --> 01:32:00,400
Speaker 1: to do it he did.

1717
01:32:01,280 --> 01:32:03,840
Speaker 3: Janet Maslin in her interview, felt that the film was

1718
01:32:03,920 --> 01:32:08,560
Speaker 3: well balanced between sentimentality and nihilism, just like our podcast.

1719
01:32:10,479 --> 01:32:12,680
Speaker 3: But Bill Murray eventually came around on the film, as

1720
01:32:12,720 --> 01:32:15,320
Speaker 3: we mentioned earlier, also calling it probably the best work

1721
01:32:15,360 --> 01:32:17,960
Speaker 3: I've done, and probably the best work Harold will ever do.

1722
01:32:18,120 --> 01:32:21,200
Speaker 3: This kind of seems like an underheaded compliment else he

1723
01:32:21,360 --> 01:32:24,840
Speaker 3: was right, Yeah. Despite its a claiming cash flow, the

1724
01:32:24,920 --> 01:32:27,919
Speaker 3: film got a lot of negative attention, including from religious

1725
01:32:27,960 --> 01:32:32,080
Speaker 3: groups and spiritual gurus, which baffled Harold Ramis because he

1726
01:32:32,120 --> 01:32:35,360
Speaker 3: didn't think anyone would be taking this stuff that seriously.

1727
01:32:36,160 --> 01:32:39,600
Speaker 3: Critic Owen Glieberman also compared it unfavorably to Back to

1728
01:32:39,680 --> 01:32:45,240
Speaker 3: the Future, which he found more cleverly structured false no

1729
01:32:46,400 --> 01:32:48,400
Speaker 3: and Back in the Future. I think is probably if

1730
01:32:48,439 --> 01:32:50,080
Speaker 3: you forced me to choose my favorite movie, and I

1731
01:32:50,120 --> 01:32:53,040
Speaker 3: love this movie obviously, as I've said, no very different.

1732
01:32:53,320 --> 01:32:56,080
Speaker 1: I hate that makes me mad. Get his ass, Yeah,

1733
01:32:56,280 --> 01:33:00,960
Speaker 1: get him Gliberman. Get Gliberman anyway. Sorry.

1734
01:33:01,520 --> 01:33:05,360
Speaker 3: Interestingly, after groundhog Day was released, several science fiction writers

1735
01:33:05,439 --> 01:33:08,519
Speaker 3: came forward and argued that the screenplay stole their idea.

1736
01:33:09,479 --> 01:33:12,240
Speaker 3: Richard Loupov claimed the Groundhog Day ripped off his short

1737
01:33:12,320 --> 01:33:16,200
Speaker 3: story twelve oh one PM. Well, Ken Grimwood charged that

1738
01:33:16,400 --> 01:33:20,040
Speaker 3: was actually based off of his story Replay, which I

1739
01:33:20,120 --> 01:33:20,720
Speaker 3: have never read.

1740
01:33:21,120 --> 01:33:23,479
Speaker 1: And this brings us to the curious case of the

1741
01:33:23,560 --> 01:33:27,800
Speaker 1: twenty fourteen movie The Edge of Tomorrow, also fantastic movie.

1742
01:33:27,920 --> 01:33:31,200
Speaker 1: Can't recommend it enough? Really, Yeah, it's awesome. Well you

1743
01:33:31,280 --> 01:33:33,519
Speaker 1: take this segment that I've never seen it. Oh, it's

1744
01:33:33,560 --> 01:33:35,600
Speaker 1: so good. It's all I have to tell you is

1745
01:33:35,640 --> 01:33:37,560
Speaker 1: you just get to watch Tom Cruise die over and

1746
01:33:37,720 --> 01:33:42,720
Speaker 1: over and over again. Yeah. It's subtitled like Live Die.

1747
01:33:43,760 --> 01:33:45,439
Speaker 1: That was what is originally supposed to be called, and

1748
01:33:45,520 --> 01:33:48,479
Speaker 1: the network's chickened out and retitled Edge of Tomorrow. It's

1749
01:33:48,520 --> 01:33:52,040
Speaker 1: basically groundhog Day, but as an alien invasion movie. And

1750
01:33:52,240 --> 01:33:55,680
Speaker 1: there's some funny nods that Tom Cruise's co star is

1751
01:33:55,760 --> 01:33:59,000
Speaker 1: named Rita. Both protagonists awake at six am with the

1752
01:33:59,080 --> 01:34:02,040
Speaker 1: line same Old, Same, and both main characters eventually pinched

1753
01:34:02,040 --> 01:34:04,679
Speaker 1: themselves at one point to prove that tomorrow has finally arrived.

1754
01:34:05,280 --> 01:34:06,760
Speaker 1: Was that intentional? A must? I mean it must have

1755
01:34:06,760 --> 01:34:09,400
Speaker 1: been intentional. Sure, I think there's another one. There's another

1756
01:34:09,439 --> 01:34:12,559
Speaker 1: one too. It's a it's a happy death day where

1757
01:34:12,600 --> 01:34:14,960
Speaker 1: there's a it's like a slasher film where there's a

1758
01:34:16,120 --> 01:34:18,400
Speaker 1: woman trapped in a groundhog Day scenario, but a serial

1759
01:34:18,479 --> 01:34:20,960
Speaker 1: killer is after her. It's just a durable premise that

1760
01:34:21,080 --> 01:34:23,719
Speaker 1: just keeps on giving. Danny Rubin was the first speaking

1761
01:34:23,760 --> 01:34:27,000
Speaker 1: of durable premises that keep on giving. On de nihilism.

1762
01:34:27,960 --> 01:34:29,800
Speaker 1: How's that for a segue? Now I liked it. I

1763
01:34:30,040 --> 01:34:32,719
Speaker 1: liked it. Okay, okay, thank you, thank you. I'm needy

1764
01:34:32,920 --> 01:34:35,439
Speaker 1: just like you. I just mask it better. Now we

1765
01:34:35,560 --> 01:34:38,800
Speaker 1: must arrive at some of the spiritual, religious, and philosophical

1766
01:34:38,920 --> 01:34:43,360
Speaker 1: underpinnings of groundhog Day. One precursor's good old Friedrich Nietzschez

1767
01:34:43,920 --> 01:34:47,320
Speaker 1: and his Gay Science, which is not his life's work

1768
01:34:47,360 --> 01:34:49,680
Speaker 1: but book he wrote, which tells the story of a

1769
01:34:49,760 --> 01:34:51,680
Speaker 1: man that lives the same day, over and over and

1770
01:34:51,760 --> 01:34:55,479
Speaker 1: over again. Writer Danny Rubin has said that it said

1771
01:34:55,479 --> 01:34:58,080
Speaker 1: that the beauty of the framework is that the beauty

1772
01:34:58,080 --> 01:35:00,200
Speaker 1: of the framework of his film is that every he

1773
01:35:00,240 --> 01:35:01,760
Speaker 1: seems to bring their own way of thinking and their

1774
01:35:01,760 --> 01:35:04,080
Speaker 1: own discipline to bear on the ideas within it, and

1775
01:35:04,160 --> 01:35:07,240
Speaker 1: would express that this is absolutely he would say that

1776
01:35:07,320 --> 01:35:11,519
Speaker 1: this is absolutely describing the essence of Nietzsche's philosophy. I

1777
01:35:11,600 --> 01:35:14,160
Speaker 1: think the movie shows that is the repetition of days itself,

1778
01:35:14,200 --> 01:35:16,600
Speaker 1: which pushes us forward in our own maturation as we

1779
01:35:16,640 --> 01:35:18,800
Speaker 1: start to encounter the same things over and over again.

1780
01:35:20,000 --> 01:35:21,880
Speaker 1: Ruben has also said they didn't actually set out to

1781
01:35:21,920 --> 01:35:24,000
Speaker 1: write a spiritual work, just one about how people get

1782
01:35:24,000 --> 01:35:26,680
Speaker 1: stuck in patterns that they can't free themselves from. Uh

1783
01:35:27,080 --> 01:35:30,479
Speaker 1: like you too once memorably did. That was a moment

1784
01:35:30,560 --> 01:35:33,559
Speaker 1: I thought it wasn't a pattern patterned in the scan,

1785
01:35:33,920 --> 01:35:45,080
Speaker 1: hard to rhyme pattern, flattern matter, batter, shatter, you got slant,

1786
01:35:45,160 --> 01:35:50,920
Speaker 1: you got to force it an irishman, I guess uh.

1787
01:35:51,160 --> 01:35:53,720
Speaker 1: Ruben called Groundhog Day a story about how to live

1788
01:35:54,000 --> 01:35:56,439
Speaker 1: whose life isn't a series of days, Who doesn't feel

1789
01:35:56,479 --> 01:35:59,000
Speaker 1: stuck from time to time? This is Crystallized, and the

1790
01:35:59,080 --> 01:36:02,320
Speaker 1: sad funny Bowling in which Phil acts two punk satani

1791
01:36:02,400 --> 01:36:04,280
Speaker 1: men if they understand what it's like to be stuck

1792
01:36:04,320 --> 01:36:07,160
Speaker 1: in a place where nothing they do matters. Yeah, man,

1793
01:36:07,200 --> 01:36:11,519
Speaker 1: that pretty much sums it up, one replies. Crowdlog Day

1794
01:36:11,520 --> 01:36:14,240
Speaker 1: has also been described as a love letter to psychotherapy,

1795
01:36:14,680 --> 01:36:17,200
Speaker 1: which I find interesting. And it can also be interpreted

1796
01:36:17,240 --> 01:36:20,920
Speaker 1: as a secular tale in which Phil's experiencing an existential

1797
01:36:21,000 --> 01:36:25,759
Speaker 1: crisis where primal self indulgence is no longer satisfying, causing

1798
01:36:25,840 --> 01:36:28,680
Speaker 1: him the fall onto a depression that he escapes by

1799
01:36:28,760 --> 01:36:31,439
Speaker 1: taking ownership of his own self improvement, and then he

1800
01:36:31,560 --> 01:36:35,880
Speaker 1: uses his improved persona to benevolently help others Again. Though

1801
01:36:35,960 --> 01:36:38,439
Speaker 1: everybody saw their own personal beliefs reflected in the film,

1802
01:36:38,920 --> 01:36:42,000
Speaker 1: Harold Ramis that he got calls from Buddhists, Jesuits, Jogi's

1803
01:36:42,160 --> 01:36:44,120
Speaker 1: all saying you must be one of us. This movie

1804
01:36:44,160 --> 01:36:47,600
Speaker 1: expresses our philosophy perfectly. Philosophers have compared it to the

1805
01:36:47,640 --> 01:36:51,200
Speaker 1: Greek mythological figure of Sissyphus, condemned to eternally roll a

1806
01:36:51,280 --> 01:36:53,080
Speaker 1: stone up a hill each day, only to have it

1807
01:36:53,200 --> 01:36:57,040
Speaker 1: roll back down, a concept that existentialist philosopher Albert Camu

1808
01:36:57,400 --> 01:36:59,880
Speaker 1: used as the framework for understanding the essential absurdity of

1809
01:37:00,040 --> 01:37:03,000
Speaker 1: existence and making your own happiness out of that. In

1810
01:37:03,120 --> 01:37:06,040
Speaker 1: his work The myth of Sisiphus, which ends with the

1811
01:37:06,120 --> 01:37:08,640
Speaker 1: struggle itself towards the heights, is enough to fill a

1812
01:37:08,720 --> 01:37:12,519
Speaker 1: man's heart. One must imagine Sisyphus happy hm.

1813
01:37:13,840 --> 01:37:16,200
Speaker 3: At one point in the movie, Phil suggests that he's

1814
01:37:16,280 --> 01:37:21,040
Speaker 3: killed himself enough times to no longer exist ego death. Yes,

1815
01:37:21,280 --> 01:37:23,200
Speaker 3: and according to Harold Ramis, at least it's at this

1816
01:37:23,320 --> 01:37:27,839
Speaker 3: point that Phil becomes ready to change. Buddhist leaders suggests

1817
01:37:27,840 --> 01:37:30,519
Speaker 3: that Phil could be interpreted as a body staffa someone

1818
01:37:30,560 --> 01:37:32,640
Speaker 3: who has reached the brink of Devana and returns to

1819
01:37:32,720 --> 01:37:36,679
Speaker 3: Earth to help others do the same. For Jews, Phil's

1820
01:37:36,800 --> 01:37:39,160
Speaker 3: escape from the timeline can be seen as a reward

1821
01:37:39,360 --> 01:37:44,000
Speaker 3: for finally learning to perform moral deeds or mitzvah, which

1822
01:37:44,000 --> 01:37:47,360
Speaker 3: I assume is related to mitzvah. Yeah, mitzwe means good deeds.

1823
01:37:47,400 --> 01:37:51,840
Speaker 3: And there's there's a scandal a while back because they've

1824
01:37:52,080 --> 01:37:55,960
Speaker 3: found out that the Hasidom in Brooklyn were buying and

1825
01:37:56,120 --> 01:37:57,600
Speaker 3: selling mitzvah.

1826
01:37:57,320 --> 01:38:04,000
Speaker 1: Online, like on eBay. I mean it's likes. Yeah. I

1827
01:38:04,040 --> 01:38:05,720
Speaker 1: mean one guy just being like, Oh, I've got so

1828
01:38:05,800 --> 01:38:08,559
Speaker 1: many mitzv Bros. I'll sell them to you. Then they

1829
01:38:08,640 --> 01:38:12,400
Speaker 1: did give me a good price. That's amazing. Yeah.

1830
01:38:14,240 --> 01:38:17,160
Speaker 3: In Christianity, Phil's journey can be interpreted as a form

1831
01:38:17,200 --> 01:38:21,040
Speaker 3: of resurrection or as Phil being trapped in purgatory until

1832
01:38:21,040 --> 01:38:23,519
Speaker 3: they can earn his place in heaven through selfless acts.

1833
01:38:24,240 --> 01:38:28,840
Speaker 3: One kabbalist analyzed the significance of the film's numerology and

1834
01:38:29,240 --> 01:38:30,000
Speaker 3: by the way, in.

1835
01:38:30,080 --> 01:38:32,839
Speaker 1: Case you were interesting. At least one economist has published

1836
01:38:32,840 --> 01:38:35,599
Speaker 1: a column claiming that Groundhog Day of the movie quote

1837
01:38:35,720 --> 01:38:39,160
Speaker 1: illustrates the importance of the mess Hayk paradigm as an

1838
01:38:39,200 --> 01:38:44,040
Speaker 1: alternative to equilibrium economics by illustrating the unreal nature of equilibrium.

1839
01:38:44,160 --> 01:38:47,200
Speaker 1: Theorizing addicts have also told Danny Rubin that the film

1840
01:38:47,320 --> 01:38:50,040
Speaker 1: helped them realize they were trapped in punk satanis of

1841
01:38:50,080 --> 01:38:53,800
Speaker 1: their own making, which is an outcome of the film.

1842
01:38:53,840 --> 01:38:56,519
Speaker 3: I hadn't considered the number of people that helped get

1843
01:38:56,640 --> 01:39:01,200
Speaker 3: clean and lives it presumably saved, which is amazing.

1844
01:39:02,880 --> 01:39:09,640
Speaker 1: Uh, offsetting that damn you wow, Okay, we're saving the

1845
01:39:10,040 --> 01:39:13,759
Speaker 1: most grim fact for last Groundhog Day passed into usage

1846
01:39:13,880 --> 01:39:17,160
Speaker 1: in the military for those repeatedly deployed to areas of

1847
01:39:17,200 --> 01:39:19,880
Speaker 1: conflict like Bosnia, Iraq or Afghanistan.

1848
01:39:21,080 --> 01:39:24,360
Speaker 3: Bill Clinton was heard to actually reference this during a

1849
01:39:24,400 --> 01:39:26,439
Speaker 3: speech to troops in the mid nineties.

1850
01:39:27,080 --> 01:39:33,759
Speaker 1: Oh God, that's grim, Fuck Clinton. Oh here's another good header.

1851
01:39:33,960 --> 01:39:37,800
Speaker 1: Hogs born back ceaselessly into the past. That's great. Danny

1852
01:39:37,840 --> 01:39:39,640
Speaker 1: Rubin actually seemed to fare the worst out of all

1853
01:39:39,640 --> 01:39:42,400
Speaker 1: the folks associated with Groundhog Day after the film success.

1854
01:39:42,439 --> 01:39:45,040
Speaker 1: Of course, he immediately started getting calls, but producer said

1855
01:39:45,080 --> 01:39:48,120
Speaker 1: pigeonholed him. They'd say, just write something normal and it'll

1856
01:39:48,160 --> 01:39:50,759
Speaker 1: come out, Danny Rubini, it'll be great, he told Vulture.

1857
01:39:51,080 --> 01:39:53,200
Speaker 1: But I didn't want to write something normal. It's messing

1858
01:39:53,280 --> 01:39:55,280
Speaker 1: with the premise and the structure that makes it exciting.

1859
01:39:55,640 --> 01:39:58,800
Speaker 1: Man Ruben had also eh Ruben had also moved his

1860
01:39:58,840 --> 01:40:00,840
Speaker 1: family to New Mexico BEFO for the film wrapped and

1861
01:40:00,960 --> 01:40:03,680
Speaker 1: resolutely refuse to play ball with the Hollywood system. His

1862
01:40:03,760 --> 01:40:06,400
Speaker 1: brother Michael tried to convince him to fly back for meetings, saying,

1863
01:40:06,520 --> 01:40:08,000
Speaker 1: they want to meet you for lunch at the IVY,

1864
01:40:08,120 --> 01:40:09,960
Speaker 1: and they want to think you're a totally fun guy.

1865
01:40:10,400 --> 01:40:12,200
Speaker 1: You get in the door because you wrote a hit movie,

1866
01:40:12,439 --> 01:40:13,640
Speaker 1: but they want to see you as a guy they

1867
01:40:13,680 --> 01:40:17,519
Speaker 1: can play with. Rubin responded, as I probably would by

1868
01:40:17,600 --> 01:40:20,720
Speaker 1: digging his heels in harder. He told Vulture, it would

1869
01:40:20,720 --> 01:40:23,120
Speaker 1: be like Goldie Hahn has a dysfunctional family. None of

1870
01:40:23,160 --> 01:40:24,960
Speaker 1: them get along, so they go camping and in the

1871
01:40:25,080 --> 01:40:27,439
Speaker 1: end they all learn to love each other. Typically, I

1872
01:40:27,439 --> 01:40:29,880
Speaker 1: would say, okay, I'm going to tell you your movie.

1873
01:40:30,360 --> 01:40:32,639
Speaker 1: He'd give them a well laid out three act structure

1874
01:40:32,640 --> 01:40:35,599
Speaker 1: film and a standard conclusion before then telling them, under

1875
01:40:35,680 --> 01:40:38,360
Speaker 1: no circumstances, am I going to write that movie? Speaking

1876
01:40:38,400 --> 01:40:41,400
Speaker 1: of being trapped in patterns, he then admitted it took

1877
01:40:41,439 --> 01:40:44,280
Speaker 1: me years to understand. That's why the business started disappearing.

1878
01:40:45,439 --> 01:40:47,880
Speaker 1: Ruben battled against this for years. He'd write scripts and

1879
01:40:48,000 --> 01:40:51,360
Speaker 1: sell them to like Universal Amblin Castle Rock, which is

1880
01:40:51,600 --> 01:40:55,320
Speaker 1: Rob Reiner's production company Mirrormax, but everyone wanted to rewrite them,

1881
01:40:55,560 --> 01:40:57,759
Speaker 1: and then when he refused, he'd be kicked off the project.

1882
01:40:58,240 --> 01:41:00,880
Speaker 1: People weren't responding to my stuff by making movies out

1883
01:41:00,880 --> 01:41:02,800
Speaker 1: of it. They were optioning it. But then there were

1884
01:41:02,880 --> 01:41:05,320
Speaker 1: the same arguments over and over. They were trying to

1885
01:41:05,360 --> 01:41:08,080
Speaker 1: make a movie that I said I was expressly not

1886
01:41:08,360 --> 01:41:12,320
Speaker 1: interested in making. Matthew Warkis, who directed the Groundhog Day

1887
01:41:12,400 --> 01:41:16,800
Speaker 1: musical that Ruben ultimately helped put together, said Danny's got

1888
01:41:16,840 --> 01:41:19,800
Speaker 1: every reason to have an antagonistic relationship with his beast,

1889
01:41:20,640 --> 01:41:23,320
Speaker 1: but ultimately it seems like Ruben has made peace with it.

1890
01:41:23,600 --> 01:41:25,559
Speaker 1: I was always thinking, I'm not a one hit wonder.

1891
01:41:25,640 --> 01:41:28,559
Speaker 1: I'm not a one hit wonder. But even if I am, okay,

1892
01:41:29,400 --> 01:41:32,360
Speaker 1: that's more than most people get every year. To celebrate

1893
01:41:32,400 --> 01:41:35,160
Speaker 1: the holiday, he and his wife in all of their

1894
01:41:35,200 --> 01:41:37,720
Speaker 1: friends over and they move the furniture and have a

1895
01:41:37,840 --> 01:41:40,280
Speaker 1: dance party. That's cute.

1896
01:41:41,800 --> 01:41:44,799
Speaker 3: One of Ruben's big returning to embrace his baby projects

1897
01:41:44,960 --> 01:41:47,960
Speaker 3: was a Groundhog Day musical, which first premiered in London

1898
01:41:48,000 --> 01:41:51,200
Speaker 3: in twenty sixteen, winning an Olivier Award and going on

1899
01:41:51,280 --> 01:41:54,080
Speaker 3: to be nominated for multiple Tony Awards after its Broadway

1900
01:41:54,160 --> 01:41:57,479
Speaker 3: debut a year later in twenty seventeen. He did this

1901
01:41:57,560 --> 01:41:59,800
Speaker 3: partly because he wanted to work, and partly because of

1902
01:42:00,040 --> 01:42:02,120
Speaker 3: musical version of the film wasn't covered by the rights

1903
01:42:02,160 --> 01:42:04,160
Speaker 3: he'd signed over to Columbia, and I loved that.

1904
01:42:04,720 --> 01:42:07,960
Speaker 1: Probably at this point needed some money Stephens.

1905
01:42:08,120 --> 01:42:12,320
Speaker 3: Sondheim expressed early interest, but ultimately it was realized by

1906
01:42:12,880 --> 01:42:16,879
Speaker 3: Matthew Warchus and oh, Tim Minchin is a great British Meadian.

1907
01:42:17,000 --> 01:42:19,040
Speaker 1: I thought that had perk you up. Yeah.

1908
01:42:20,720 --> 01:42:23,200
Speaker 3: They approached Danny Rubin in twenty twelve, fresh off the

1909
01:42:23,240 --> 01:42:26,840
Speaker 3: success of The Matilda Musical. The trio collaborated for a

1910
01:42:26,920 --> 01:42:29,800
Speaker 3: few years before producing the finished version, and while no

1911
01:42:29,880 --> 01:42:33,080
Speaker 3: one really expected Bill Murray to attend, he did and

1912
01:42:33,200 --> 01:42:36,719
Speaker 3: then went back the next day, which is mind blowing,

1913
01:42:36,800 --> 01:42:39,320
Speaker 3: and he had surprisingly positive things to say.

1914
01:42:40,240 --> 01:42:42,720
Speaker 1: The idea that we just have to try again, We

1915
01:42:43,000 --> 01:42:46,439
Speaker 1: just have to try again. It's such a beautiful, powerful idea.

1916
01:42:48,200 --> 01:42:50,599
Speaker 1: He even commended the show's cast and crew for their

1917
01:42:50,640 --> 01:42:55,040
Speaker 1: phenomenal efforts as actors. I can't respect enough how disciplined

1918
01:42:55,080 --> 01:42:57,639
Speaker 1: you are and how serving you are of the process,

1919
01:42:57,720 --> 01:42:59,800
Speaker 1: he told them. According to Rolling Stone.

1920
01:43:00,000 --> 01:43:03,040
Speaker 3: There's nothing worse than seeing someone that's out for themselves

1921
01:43:03,400 --> 01:43:06,599
Speaker 3: and you're all in it for each other. As far

1922
01:43:06,640 --> 01:43:10,120
Speaker 3: as a film sequel, Hanni McDowell told The Hollywood Reporter,

1923
01:43:10,479 --> 01:43:13,599
Speaker 3: people always say let's do groundhog Day again, which would

1924
01:43:13,640 --> 01:43:16,080
Speaker 3: be a hilarious name for a groundlock Day sequel. Actually

1925
01:43:16,120 --> 01:43:16,960
Speaker 3: groundlock Day again.

1926
01:43:17,120 --> 01:43:17,360
Speaker 1: True.

1927
01:43:17,560 --> 01:43:19,760
Speaker 3: First of all, Bill Murray's never going to do it, true,

1928
01:43:20,120 --> 01:43:22,240
Speaker 3: So you can forget that. I know him, He's not

1929
01:43:22,320 --> 01:43:22,760
Speaker 3: gonna do it.

1930
01:43:23,840 --> 01:43:26,880
Speaker 1: But in twenty twenty, Bill Murray and some of the

1931
01:43:26,960 --> 01:43:30,040
Speaker 1: other cast members reprise their role for a Super Bowl commercial.

1932
01:43:31,160 --> 01:43:34,120
Speaker 1: Funnily enough, the big Game also happened to fall on

1933
01:43:34,479 --> 01:43:38,000
Speaker 1: Groundhog Day. What better reason to bring the characters back

1934
01:43:38,080 --> 01:43:46,519
Speaker 1: than to advertise the GEEP Gladiator brings us nice full circle.

1935
01:43:46,560 --> 01:43:48,640
Speaker 1: We're talking about Gladiator too at the beginning of this.

1936
01:43:49,080 --> 01:43:51,559
Speaker 1: Cool like that. We'll saving it. We're saving it all right.

1937
01:43:51,840 --> 01:43:55,400
Speaker 3: The nearly two minute advertisement showcases the vehicle, while Bill

1938
01:43:55,479 --> 01:43:58,679
Speaker 3: Murray and the Groundhog enjoy a handful of humorous scenes together.

1939
01:44:00,000 --> 01:44:02,519
Speaker 3: They really did their due diligence for this ad. It

1940
01:44:02,600 --> 01:44:05,479
Speaker 3: was filmed in Woodstock, just like the original movie, and

1941
01:44:05,600 --> 01:44:08,280
Speaker 3: the video concludes with the line that echoes the movie

1942
01:44:08,760 --> 01:44:11,680
Speaker 3: have the Day of your life over and over and

1943
01:44:12,000 --> 01:44:16,360
Speaker 3: over again, because capitalism is the only thing that yields

1944
01:44:16,439 --> 01:44:17,360
Speaker 3: good things anymore.

1945
01:44:18,600 --> 01:44:22,320
Speaker 1: A writer named Desen Thompson once snarked Groundhog Day will

1946
01:44:22,400 --> 01:44:26,880
Speaker 1: never be designated a national treasure. Well, guessing what, buddy what?

1947
01:44:27,520 --> 01:44:32,280
Speaker 1: In two thousand and six it was Baby groundhog Day

1948
01:44:32,439 --> 01:44:35,600
Speaker 1: actually didn't receive any major rewards or even nominations at

1949
01:44:35,640 --> 01:44:37,760
Speaker 1: the time, but it's clearly won the long war in

1950
01:44:37,840 --> 01:44:39,880
Speaker 1: the hearts and minds of not just the public, but

1951
01:44:40,000 --> 01:44:42,880
Speaker 1: the official ivory towers of the film world, the American

1952
01:44:42,920 --> 01:44:46,960
Speaker 1: Film Institute, and the National Film Registry. So how fuck yeah,

1953
01:44:48,040 --> 01:44:51,480
Speaker 1: here's a perfect ending image for you. The cast reunited

1954
01:44:51,520 --> 01:44:53,880
Speaker 1: for the first time on the thirty first anniversary of

1955
01:44:53,920 --> 01:44:56,679
Speaker 1: the film and the tenth anniversary of Harold Ramis's death.

1956
01:44:58,000 --> 01:45:00,920
Speaker 1: They came together at the Harry Carey taper at Navy

1957
01:45:01,000 --> 01:45:03,400
Speaker 1: Peer as I Got You Babe played on the PA.

1958
01:45:04,280 --> 01:45:07,400
Speaker 1: When the local Groundhogs saw his shadow, Bill Murray threatened

1959
01:45:07,400 --> 01:45:11,800
Speaker 1: to go to town on the road with his cane. Well, folks,

1960
01:45:12,360 --> 01:45:13,960
Speaker 1: I don't know what there's left to say about a

1961
01:45:14,040 --> 01:45:18,000
Speaker 1: film so perfectly constructed and around a central concept that's

1962
01:45:18,000 --> 01:45:23,439
Speaker 1: so at once universal but deeply personal and heartfelt that

1963
01:45:23,560 --> 01:45:27,360
Speaker 1: every major philosophy and religion can claim it presents their doctrines.

1964
01:45:28,320 --> 01:45:30,599
Speaker 1: It teaches us that loving ourselves and engaging with our

1965
01:45:30,640 --> 01:45:32,479
Speaker 1: communities is the only way to break the change that

1966
01:45:32,560 --> 01:45:35,040
Speaker 1: we forge in life. It tells us to watch out

1967
01:45:35,080 --> 01:45:39,640
Speaker 1: for that last step. Perhaps the ultimate zen statement from

1968
01:45:39,680 --> 01:45:42,839
Speaker 1: this movie is the one to take with us. Something's

1969
01:45:42,960 --> 01:45:47,559
Speaker 1: changed and any change is good. Well said, folks, Thank

1970
01:45:47,600 --> 01:45:50,760
Speaker 1: you for listening. This has been too much information. I'm

1971
01:45:50,800 --> 01:45:53,680
Speaker 1: Alex Haigel and I'm Jordan roun Togg. We'll catch you

1972
01:45:53,800 --> 01:46:02,200
Speaker 1: next time. Too Much was a production of iHeartRadio. The

1973
01:46:02,280 --> 01:46:05,600
Speaker 1: show's executive producers are Noel Brown and Jordan Runtogg. The

1974
01:46:05,680 --> 01:46:09,800
Speaker 1: show's supervising producer is Michael Alder June. The show was researched,

1975
01:46:09,920 --> 01:46:12,960
Speaker 1: written and hosted by Jordan Runtogg and Alex Heigel.

1976
01:46:12,800 --> 01:46:15,960
Speaker 4: With original music by Seth Applebaum and a ghost punk orchestra.

1977
01:46:16,360 --> 01:46:18,360
Speaker 4: If you like what you heard, please subscribe and leave

1978
01:46:18,439 --> 01:46:21,400
Speaker 4: us a review. For more podcasts on iHeartRadio, visit the

1979
01:46:21,439 --> 01:46:24,720
Speaker 4: iHeartRadio app, Apple Podcasts, or wherever you listen to your

1980
01:46:24,760 --> 01:46:25,439
Speaker 4: favorite shows.