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I remember when first, Stripes, and then Animal House came out - which I was really proud of, even though it was kind of loose and quite raucous - there were imitative movies that were not quite as good.

Ivan Reitman

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Ivan Reitman
Age: 72
Born: 1952
Born: October 27
Film Actor
Film Director
Film Producer
Screenwriter
Theatrical Director
Komarno
Really
Came
Raucous
Good
Though
Imitative
House
Stripes
Remember
Loose
Firsts
Proud
First
Movies
Even
Quite
Kind
Animal

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I love horror and sci-fi.
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A good actor is someone who knows how to take the part and make it real and make it honest and be effective in it. If it's in a funny movie and, as long as they are cast in an appropriate way, humor will come from it.
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Comedy is a very delicate business, especially comedies that sort of attempt to do things in an honest way and in a very naturalistic way the way that 'No Strings Attached' is.
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Then my first film was something called Cannibal Girls, which sounds like a horror movie but was actually kind of a goofy comedy with horror elements. Like a horror spoof.
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I believe that improvisation is really just a directorial tool. It's a writing tool. It's not so much that the actors get to say whatever they want, whatever pops into their head. It's an opportunity to write the last draft of the screenplay as you're working on it.
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Movies either work or they don't work and they're either funny or they're not and we work very hard. To achieve that kind of work is really kind of delicate stitching.
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It's sort of the most important thing for acting, is to listen to the person you're dealing with.
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In a comedy it helps enhance things that were already there.
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I've always been a fan of science fiction films, and I've never been able to put my particular spin on it.
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I always thought that Bill Murray was one of the great actors that I've worked with. And I've worked with all kinds of people who are known primarily for their dramatic work.
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The home viewing experience is slightly different and there's room for these kinds of extra excursions.
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The hardest thing for everyone, for the writer, for the director and certainly for the actors, is not to panic when they're doing a certain line for the tenth time because everything ceases to be funny after it's been repeated.
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I don't think my sense of humor has changed at all I was born with this, for better or for worse.
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I always see things that I can improve. But frankly with Stripes, I'm surprised at how effective it is, even today, and how vibrant that movie is and how juicy the performances all are.
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I've always believed in populating my films with characters who we like, who we have some warmth for, who have warmth for each other, who we would like to hang out with, who we emulate in one way or another. It's not that they all get along, or that there aren't bad people or people we make fun of. But at the core, there's a kind of sweetness.
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My first student film was Orientation, which was basically the set-up for Animal House. There are a couple of scenes that we later borrowed in some form.
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The real trick for me as a director is to make sure that people don't start pushing because the harder you push as a perform the less funny it becomes.
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I'm not sure I agree with the thesis, because I think that even though something grotesque or gross has been part of film since way back, what we accept or what we can get away with on the screen is broader now.
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My sense is, I think it's okay for directors to do movies that speak to other work in their career.
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Also watching a movie on DVD is different than watching it in the theater.
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