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Some people have a fear of rejecting all the security that comes with family, church and state. They become fundamentalists.

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
Fear
Comes
Become
Fundamentalists
States
Rejecting
People
Security
State
Church
Family

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I'd rather do comedies that strike at some bigger ideas.
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Where's the great pay? Where's the travel? Where's the Winnebago, Goddamnit!
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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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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 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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Most people live somewhere on the spectrum of anxiety and depression.
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You can't not have feelings about country clubs, whichever side you're on.
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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 try to measure the amount of truth in a work rather than just looking at the generic distinction between comedy and drama.
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There's a personal story of my own that I will write at some point, and it's a film that I will happily make. It could very well be the next thing I do, unless someone shows me something great.
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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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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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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 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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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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My characters aren't losers. They're rebels. They win by their refusal to play by everyone else's rules.
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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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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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I have no trouble selling out—I’m a benevolent hack, in a certain way—but I want to pander for something I believe in.
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