Visible crew/equipment: When Michael Douglas goes to the police for the first time, after he gets the tape, when he is talking to the policeman watch for the reflection of the boom mike to the right of the cop's head in the trophy plate. It's beautiful and in every shot. (01:22:40)
Visible crew/equipment: The boom mic is visible in the top corner of the Volvo's windshield, when Michael Douglas waves goodbye to his daughter on the street at the beginning.
Visible crew/equipment: While Michael Douglas is listening to the tape in the attic there is a reflection in the window of someone who looks to have long blonde hair, just above and slightly to the right of the lamp. (01:20:40)
Visible crew/equipment: In the library, right after Dan breaks into Alex's apartment, a cameraman's reflection is visible in a window as a librarian pushes a cart past it.
Visible crew/equipment: In the beginning of the movie as Michael Douglas runs to answer the phone someone has knocked the overhead lamp in his kitchen and set it swinging. (00:03:05)
Visible crew/equipment: The shadow of a crew member goes across Michael Douglas' shirt as he's sitting on the couch reading in the beginning of the movie. (00:02:25)
Visible crew/equipment: A shadow moves to the left of the refrigerator when Glenn Close says "I'm pregnant I'm gonna have our child." Michael Douglas doesn't move out of his position yet. (01:08:30)
Visible crew/equipment: When Michael Douglas leaves the car rental there is a guy across the street behind a bus conspicuously watching everything. (01:15:45)
Visible crew/equipment: When the family leaves their apartment building you can see the reflection of a boom mike in the right door. (00:09:40)
Visible crew/equipment: When Dan reluctantly tells his secretary that he will accept Alex's phone call, if you look in the top left hand corner of the screen, you can see a boom microphone make a quick appearance.
Visible crew/equipment: This is very tough to spot, but as Michael Douglas is in his kitchen talking to Anne Archer, if you look very closely above his head you'll see a quick tiny white reflection of a piece of equipment in the glass cabinet. (00:24:30)
Visible crew/equipment: This is much easer to see on the VHS version. As Michael Douglas goes through the revolving door at his office, as it stops, you see the reflection of a crew member standing there. (00:18:35)
Visible crew/equipment: You see the reflection of the cameraman right in the center of the tea pot as Michael Douglas makes Anne Archer some tea before her bath. (01:49:20)
Chosen answer: With questions such as this, one can either speculate, or one can go directly to the source. So, using IMDb, I looked up the names of the crew on "Fatal Attraction." The costume designer is listed as Ellen Mirojnick. The set decoration was the responsibility of George DeTittas, Sr. I found Ellen Mirojnick on Facebook (https://www.facebook.com/Ellenmirojnick/posts/263462080524551?comment_id=263621453841947&offset=0&total_comments=2¬if_t=feed_comment), and posed the question to her. This was the reply she gave: " (I)n our process there is always a purpose for a palette to tell a story dramatically. I chose white for her character because white is powerful and although not essentially a "color" it reflects all other colors, which would in turn reflect where we were in the story. I thought through her silhouettes and use of shades of whites, it would reflect her mood and not give away the demon she kept hidden. WHITE is powerful... As she was!" I have not yet been able to track down Mr. DeTittas for comment. But I have posed the additional question to Ms. Mirojnick regarding whether the color palette motif was a decision shared by different departments on the film. Ms. Mironjnick added the following comments: "she wears white to discuise (sic) her darkness, that somehow is revealed in certain places.. white is all things combined .. it radiatesits (sic) the confusion as if she was in an asylum, but her own."
Michael Albert