Quote

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.

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
Tell
Protect
Kids
Realize
Certain
Realizing
Facade
Country
Quite
Protects
Years
Five
Policemen
Good
Start
Six
Point
Noble
Comes
Early

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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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I collect spores, molds, and fungus.
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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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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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No one will laugh at how great things are for somebody.
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I think satire is a luxury of literate middle-class people. People who are well fed and relatively secure in their beds can laugh at their troubles. They can enjoy sitcoms. For those who aren't quite so lucky, well, the irony might be lost on them.
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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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I've always thought that comedy was just another dramatic expression.
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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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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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Some people have a fear of rejecting all the security that comes with family, church and state. They become fundamentalists.
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Most comedy is not very ambitious. You probably can't name more than a handful of comedies that would qualify for Best Picture.
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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'm not a believer in the pratfall. I don't think it's funny just to have someone fall down.
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Where's the great pay? Where's the travel? Where's the Winnebago, Goddamnit!
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When you're a big enough part of the process that the Writers Guild gives you a lot of credit, that's a good thing. It tells me that I've had a significant impact on the film as a writer.
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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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As much as I liked acting for its playfulness and the reward of hearing big laughs wash over you on a stage, I always felt I should do something that I could control.
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You don't have to know much, just a little bit more than everybody else.
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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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