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One of them is the story credit for the Italian remake of not once but twice — maybe more times than that, but who’s counting.It’s unusual for any artist to live so long under the shadow of a single work, let alone a story that is itself intimately concerned with limits and repetition.His agent said, “Get me a writing sample,” so Rubin went back to his list. 10 on the list was “A man lives the same day over and over.” He wasn’t the first to think of this premise. tried to woo him back, regularly flying him into town.
Minchin agrees: “One can assume that, upgrading it to four stars.
In 2007, Rubin started a blog — Blogus Groundhogus — where he answered questions from fans and posted fictional dialogues between himself and Phil Connors, now retired from the weather business and living on a mountainside near Taos.
Rubin is the guy who wrote Groundhog Day the musical.
He’s also the guy who wrote Groundhog Day the film — both the original script and the version he later hammered out with director Harold Ramis.
He doesn’t remember how the idea first came to him.
Rubin gets ideas the way some people take drugs — in wee fistfuls.
Rubin was more interested in what would happen to a man stuck reliving the same day over and over. , found the script and was hired to direct it, and he cast Bill Murray to star in it. It’s messing with the premise and the structure that makes it exciting! “It would be like, Goldie Hawn has a dysfunctional family, none of them get along, so they go camping and in the end they all learn to love each other,” Rubin recalls.
Rubin spent weeks revising it, first with Ramis, then with Murray — the two of them throwing ideas back and forth, hanging out in Punxsutawney, Pennsylvania — and then it went back to Ramis, who defended it from the studio’s worst impulses, such as inserting a scene where the main character, Phil Connors, gets cursed by a gypsy. “They’d say, ‘Just write something normal and it’ll come out Danny Rubin–y. “Typically I would say, ‘Okay, I am going to tell you your movie.’ ” He’d lay out a perfectly respectable studio picture, with a three-act structure and a conventional conclusion.
“They just wanted it to be more like something they already knew.” The film had been a solid success when it came out but not a phenomenon; Roger Ebert gave it three stars. The idea of a time loop became a standard trope in movies and television, and the term “Groundhog Day” itself became vernacular for any experience that seemed endlessly to repeat.
Rubin’s friends would call him up excitedly whenever they heard someone use it, until it became so common that they had to stop.