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You can't love somebody into a state of mental health.

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
State
States
Love
Mental
Health
Somebody

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The cutting room is where you discover the optimal length of the movie.
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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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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 never read Playboy before I started working there and stopped reading it the day I quit.
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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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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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Nothing reinforces a professional relationship more than enjoying success with someone.
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No matter what I have to say, I'm still trying to say it in comedic form.
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You can't not have feelings about country clubs, whichever side you're on.
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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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Life doesn't care about your vision. You just gotta roll 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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My characters aren't losers. They're rebels. They win by their refusal to play by everyone else's rules.
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For me, most comedy scripts fail in the mechanical playing-out of the setup. They'll pay lip service to a moral lesson or a psychological progression.
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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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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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When you're young and you first see the extent and depth of the world's hypocrisy, it's fun to go after it. But by the time you're sixty, it's so commonplace. What's the point in ridiculing people anymore? Their existence itself is a sort of sick joke.
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I did a comedy with Al Franken about his character Stuart Smalley, which was really about alcoholism and addiction and codependency. It had some painful stuff in it. When we showed it to focus groups, some of them actually said, If I want to see a dysfunctional family, I'll stay home.
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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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Life has all of these contradictory feelings and contradictory results. People spend their whole lives struggling to get what they think they want, and even if they get it, they find that it's either not what they wanted, or it comes with so many unwanted consequences. We're always shut off from pure joy.
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