thanks for watching
Thinking about the way Ramis directs the action, or maybe the way John Bailey directs the photography, and right off I'm noticing a couple odd choices. Frame Phil in the bluescreen, then lazily pan out just enough to frame the monitor to the side with him. Then, cut to not the image that would be on the monitor but a shot of the monitor itself, framing the image... Actually, considering the crazy notion I put forth once that the entire movie takes place inside that other monitor--where the shot transitions from aerial shot of the Ohio River flying into Pittsburgh on the monitor to the same shot on our screen--I'm wondering if windows and shot framing is going to matter a lot here. I wrote a paper once about the windowframes in Rear Window , though that one is more obvious, so maybe there's something here. Van ride, and the shot we get of Phil asking Larry if he can keep a secret is from outside, through the windshield. Less interesting, we see Phil from outside the van...