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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.

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
Together
Studios
Thinking
Effect
Profound
Painful
Effects
Married
Couple
Marital
Comedy
Couples

More quotes by Harold Ramis

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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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When a director writes, there's a compulsory arbitration. You have a right to challenge any of the arbitrators, but they pick three of four arbitrators who read all the drafts with no names attached and then allocate credit.
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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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Whenever a critic mentions the salary of an actor, I'm thinking, He's not talking about the movie.
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You can't love somebody into a state of mental health.
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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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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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I've been directing for 25 years almost, and I've only directed nine films in that time because I like to be careful.
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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 cutting room is where you discover the optimal length of the movie.
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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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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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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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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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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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We all wish we could be in more than one place at the same time. People with families feel guilty all the time-if we spend too much time with our family, we feel we're not working hard enough.
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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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Just expressing contempt for your leaders doesn't really accomplish anything.
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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.
Harold Ramis