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

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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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It doesn't take any longer to improvise 10 takes than it takes to shoot 10 takes of the same thing. It turns out to be just as responsible from a business point of view as anything else.
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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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Where's the great pay? Where's the travel? Where's the Winnebago, Goddamnit!
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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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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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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 collect spores, molds, and fungus.
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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 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 never read Playboy before I started working there and stopped reading it the day I quit.
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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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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 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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If Chevy Chase had not been an actor, he might have been a very popular guy in advertising or whatever field he would have gone into, because of his charisma.
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Groundhog Day was pretty clean. It may have to do with some puritanical feeling that comedy is a forbidden pleasure in a certain way. They make you laugh, and laughter is somehow an inferior emotion to tragedy.
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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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Whenever a critic mentions the salary of an actor, I'm thinking, He's not talking about the movie.
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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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