Visible crew/equipment: When Anderton is about to enter the Lexus factory he runs into the cops' car. When the passenger door opens, you can see the reflection of a crewmember. (00:49:35)
Visible crew/equipment: After the scene in the car factory when Anderton drives up to Hineman's place, he parks his car and opens the door. When he opens the door, you can very easily see a cameraman bent down reflected in the car door. (00:53:10)
Visible crew/equipment: In the scene where Anderton is going to kill Crow, the camera angle changes to behind Crow. In the window behind him you can see the demolitions charge used to create a bullet hole and crack the glass. (01:44:05)
Visible crew/equipment: When Lamar shoots Witwer it shows the the bullet's point of entry. Looking closely at his shirt, you can see the outline of the square/rectangular blood pack. (01:48:50)
Visible crew/equipment: When Anderton visits his wife after the auto plant scene, the camera pans around the car and the camera operator is clearly seen in the reflection on the bumper. (01:57:05)
Visible crew/equipment: When John and Agatha come to Rufus T Riley's place there is a low camera view of them walking through a doorway as Rufus starts saying about Anderton getting 'a little jerky for himself'. To the left of the doorway the crew are reflected going backwards filming the action.
Visible crew/equipment: When John Anderton shoots Leo Crow, the camera mounted on a crane can be seen reflected on the building's glass in the outside shot just a second before the man defenestrates himself.
Visible crew/equipment: When John Anderton is walking around the hotel room before meeting Leo Crow, just before he spots the photos on the bed, he glances over towards the direction of the bed - if you look to the left of him, you can make out a cameraman's face and hand where he is holding a camera in the reflection of the glass window.
Chosen answer: It's what's known as a McGuffin; a plot element that seems to be important when introduced, but serves no purpose other than to intrigue/distract the audience. The term was popularised by Alfred Hitchcock.
J I Cohen
That's not *quite* what a MacGuffin is. A MacGuffin not only seems important, it *is* important; in fact, one of its two diagnostic characteristics is that a MacGuffin is something around which the entire plot revolves. The other property fundamental to what makes something a MacGuffin is the fact that the origin, purpose, function, and, in some cases, even identity of the object is left either vague or completely undefined. The briefcase in Pulp Fiction is a classic example (although there *is* a compelling argument that the object in the briefcase is in fact a specific artifact).
Well, according to the doctor when the operation is beginning, the doctor reveals that in prison, he spent all of his time in the library, including books on medicine and technology. As a result, he found his "true calling", and is thankful to John for helping him see that.