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The trick with sequels is, you have to give people what they liked before, yet be innovative enough so they don't feel like they're seeing the same movie.

Harold Ramis

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Harold Ramis
Age: 69 †
Born: 1944
Born: November 21
Died: 2014
Died: February 24
Actor
Comedian
Director
Film Actor
Film Director
Film Producer
Screenwriter
Television Actor
Writer
Chicago
Illinois
Harold Allen Ramis
Giving
Tricks
Like
Liked
People
Seeing
Movie
Give
Enough
Sequels
Feel
Innovative
Feels
Trick

More quotes by Harold Ramis

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I've never taken a script to the stage or to principal photography and said, This is perfect. This is as good as it can possibly be. It's not Shakespeare, you know you know it can probably be better.
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I used to be married to a woman who pursued every spiritual trend with tremendous passion and dragged me along. I don't believe in anything. I'd seen mediums and readers.
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I loved writing and performing, but the idea of doing it for a living seemed so remote. But I eventually let it devolve to the point where it was the only thing I could do.
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Comedy is essentially made by young men, or older men with some form of arrested development, for young men or immature older men.
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Life doesn't care about your vision. You just gotta roll with it.
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Films are big hits when they touch a lot of people. Things are not funny in a vacuum, they're funny because we respond to some personal dislocation, some embarrassment, some humiliation, some pain we've suffered, or some desire we have.
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My characters aren't losers. They're rebels. They win by their refusal to play by everyone else's rules.
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It's like the old rule-if you introduce a gun into the first act of a play, it's going to be used in the third act. So if you do a movie about criminals, you have to accept there's going to be Some action.
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First and foremost, you have to make the movie for yourself. And that's not to say, to hell with everyone else, but what else have you got to go on but your own taste and judgment?
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I'm a writer-director-actor, which I've always kind of enjoyed. I compared it to the Olympic biathlon. Not only can he cross-country ski, but he's a terrific marksman as well. I want people to say, You mean that writer performed a tracheotomy? That's right, I do everything.
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The cutting room is where you discover the optimal length of the movie.
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We tell our kids that policemen are good and God protects us and our country is noble, and at a certain point - and for some it comes quite early, five or six years old - we start to realize that it's all a facade.
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You can perceive life as tragic, or you can laugh at the tragedy of it and that turns it into comedy. It doesn't change the circumstances.
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When I've written for Bill Murray - I've written six films for him - people would read it and say, Oh, that's so perfectly Bill. He'd read it and say, Are you kidding? I can't say these words. So it's all about perception.
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You can't love somebody into a state of mental health.
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At a certain point, you have to convince the actors that you've done the right thing. The way I work, if I can't convince them, I've got to move on. I can't coerce them or browbeat them.
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Find the most talented person in the room and if it's not you, go stand next to him. Hang out with him. try to be helpful.
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My only conclusion about structure is that nothing works if you don't have interesting characters and a good story to tell.
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Where's the great pay? Where's the travel? Where's the Winnebago, Goddamnit!
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Most people live somewhere on the spectrum of anxiety and depression.
Harold Ramis