Harold Ramis

Harold Ramis

Comedian, actor, director, screenwriter
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  • Everything we see has some hidden message. A lot of awful messages are coming in under the radar - subliminal consumer messages, all kinds of politically incorrect messages...
  • I'd like to think I'd never do a gratuitous fart joke.
  • How one handles success or failure is determined by their early childhood.
  • At first I would get mail saying, 'Oh, you must be a Christian because the movie (Groundhog Day (1993)) so beautifully expresses Christian belief.' Then rabbis started calling from all over, saying they were preaching the film as their next sermon. And the Buddhists! Well, I knew they loved it because my mother-in-law has lived in a Buddhist meditation centre for 30 years and my wife lived there for five years. - remarks to the New York Times on the ecumenical popularity of Groundhog Day (1993).
  • That's one of the great things about DVD: In addition to reaching people who didn't catch the movie in theaters, you get to have this interaction of sorts.
  • No matter what I have to say, I'm still trying to say it in comedic form.
  • I feel a big obligation to the audience, almost in a moral sense, to say something useful. If I'm going to spend a year of my life on these things, I want something that I feel that strongly about.
  • I had a lot of fun working with John Candy. We had a pretty good rapport.
  • I'm not a believer in the pratfall. I don't think it's funny just to have someone fall down.
  • Whenever a critic mentions the salary of an actor, I'm thinking, He's not talking about the movie.
  • You can't not have feelings about country clubs, whichever side you're on.
  • I used to be married to a woman who pursued every spiritual trend with tremendous passion and dragged me along. I don't believe in anything. I'd seen mediums and readers.
  • The cutting room is where you discover the optimal length of the movie.
  • The first comedy screenplay that I wrote was Animal House and I always thought I could and should be a director but no one was about to give me that opportunity on Animal House.
  • My first few films were institutional comedies, and you're on pretty safe ground when you're dealing with an institution that vast numbers of people have experienced: college, summer camp, the military, the country club.
  • I never read Playboy before I started working there and stopped reading it the day I quit.
  • I always claim that the writer has done 90 percent of the director's work.
  • Everything we see has some hidden message. A lot of awful messages are coming in under the radar - subliminal consumer messages, all kinds of politically incorrect messages...
  • Acting is all about big hair and funny props... All the great actors knew it. Olivier knew it, Brando knew it.
  • Multiplicity was a movie that tested really well. People seeing the movie really liked it, but then the studio couldn't market it. We opened on a weekend with nine other films.
  • I never work just to work. It's some combination of laziness and self-respect.
  • We were tremendously encouraged by the testing of Analyze That. Audiences loved it. They were telling us that they liked it as much as the original. We recorded the laughs in the theater.
  • 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.
  • With both Caddyshack and Vacation, it's not like the subjects were serious enough that they engaged my interest for another round. I love the characters, and the actors were great, but I didn't see the need to make another Vacation movie.
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