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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.

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
Certain
Done
Right
Coerce
Thing
Convince
Work
Move
Way
Point
Actors
Moving

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Life doesn't care about your vision. You just gotta roll with it.
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Nothing reinforces a professional relationship more than enjoying success with someone.
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I was the little guy who knew how to tie a necktie. It came from having absentee parents. They were tremendously loving and caring people who, by circumstance, had to go to work.
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I realized that my righteous indignation was a form of entertainment for me. I loved getting pissed off at injustice. I didn't do anything about it, I just liked the feeling of being pissed off.
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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 can't imagine a successful comedy movie without a successful comedy performance at the heart of it.
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My job is to come up with something that you like and you agree with that you would play wholeheartedly. If we disagree, I may not be doing my job correctly.
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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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Never hit anyone in anger, unless you're absolutely sure you can get away with it.
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I'm sure that the liability for doing a tracheotomy would be tremendous. You make one mistake, and it's over. Most doctors won't even do it.
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Whenever a critic mentions the salary of an actor, I'm thinking, He's not talking about the movie.
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Billy Crystal knows how to make people laugh. He's got 30 years on stage... there's no telling him what's funny.
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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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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.
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I'm thinking of doing a marital comedy for one of the studios, but I want it to be so painful that it'll have a profound effect on married couples who see it together.
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I always think that the writer is doing the vast majority of the director's work, in a sense. If you're a writer who is also going to direct, you're doing all your preparation: You're already visualizing everything, you're imagining how the lines are going to be read, you see the blocking in your head, and you know the rhythm and the pacing.
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I have tons of rescuing fantasies based on the movies I saw when I was growing up. I wanted to be Robin Hood and the Three Musketeers and the Scarlet Pimpernel.
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If you're doing six takes, instead of doing six variations on the same words, why not just throw out the words and make them up as you go along, if you're comfortable with it? It gives the movies a slightly rangier feeling, and more of an accidental feel, but it also makes them edgier.
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