Top 100 Ramis Quotes
#1. Rhage glanced over in the relative silence. "You are a genius." "Harold Ramis is." "I'm sorry?" "You ever see Stripes? My favorite movie of all time. I based this thing on Bill Murray's ride.
J.R. Ward
#2. I was fortunate to be able to do two movies with Harold Ramis. He was the kindest of any director with whom I worked. Harold was a genius. On top of his talent, he could do the 'New York Times' crossword puzzle faster than anyone! I am lucky to have known him as well as I did. I will miss him.
Andie MacDowell
#3. A psychologist said to me, there are only two important questions you have to ask yourself. What do you really feel? And, what do you really want? If you can answer those two, you probably can leave your neuroses behind you.
Harold Ramis
#4. The cutting room is where you discover the optimal length of the movie.
Harold Ramis
#5. Once you're alienated, you're on your own. That takes you to the world of the existential, where things just kind of float.
Harold Ramis
#6. Whatever bliss we think we're going to find, we may find it in brief flashes, fleeting moments that come and go. There's an impossibility to nailing down any good feeling.
Harold Ramis
#7. Ive never been a big believer in ghosts or the spirit world, and for me, that was part of the point of the movie, ... What the Ghostbusters represented was the triumph of human courage and human ingenuity. People create their own monsters. Our fears come from within us, not outside.
Harold Ramis
#8. I've always had that overweening desire to be liked by the audience.
Harold Ramis
#9. 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.
Harold Ramis
#10. I had developed a survival skill of using my wit to score for myself. If a scene was dying, I'd lob in these little bombshell lines that would get me some attention and a laugh without really helping the scene.
Harold Ramis
#11. As an actor, you're completely at the mercy of other people. You basically go begging for the opportunity to work. As a writer, at least nobody can tell me what to do. I can write what I want. I might not sell it, but at least I'm in control.
Harold Ramis
#12. I'd like to think I'd never do a gratuitous fart joke.
Harold Ramis
#13. 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.
Harold Ramis
#14. 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.
Harold Ramis
#15. I'd rather do comedies that strike at some bigger ideas.
Harold Ramis
#16. Comedy is essentially made by young men, or older men with some form of arrested development, for young men or immature older men.
Harold Ramis
#17. 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.
Harold Ramis
#18. 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.
Harold Ramis
#19. You don't have to know much, just a little bit more than everybody else.
Harold Ramis
#20. I never work just to work. It's some combination of laziness and self-respect.
Harold Ramis
#21. 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.
Harold Ramis
#22. 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
#23. No one will laugh at how great things are for somebody.
Harold Ramis
#24. Chicago still remains a Mecca of the Midwest - people from both coasts are kind of amazed how good life is in Chicago, and what a good culture we've got. You can have a pretty wonderful artistic life and never leave Chicago.
Harold Ramis
#25. I've tried to stay away from mild satire. I want an audience to feel something more powerful for their ten bucks. If they're going to spend two hours with me, and trust me to lead them around, I'd like to take them someplace special.
Harold Ramis
#26. I believe things happen that can't be explained, but so many people seem intent on explaining them. Everyone has an answer for them. Either aliens or things from the spirit world.
Harold Ramis
#27. 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.
Harold Ramis
#28. I can't imagine a successful comedy movie without a successful comedy performance at the heart of it.
Harold Ramis
#29. Most people live somewhere on the spectrum of anxiety and depression.
Harold Ramis
#30. 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.
Harold Ramis
#31. The times change, and to the extent that comedy captures the spirit of the times, it will enjoy success.
Harold Ramis
#32. 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.
Harold Ramis
#33. 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
#34. Whenever a critic mentions the salary of an actor, I'm thinking, He's not talking about the movie.
Harold Ramis
#35. It's a great luxury for me to be able to write on the films that I direct, and kind of a nice thing to be able to write enough to get credit, which is difficult for a director.
Harold Ramis
#36. You can't love somebody into a state of mental health.
Harold Ramis
#38. When you're young and you first see the extent and depth of the world's hypocrisy, it's fun to go after it. But by the time you're sixty, it's so commonplace. What's the point in ridiculing people anymore? Their existence itself is a sort of sick joke.
Harold Ramis
#39. 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.
Harold Ramis
#40. 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.
Harold Ramis
#41. 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.
Harold Ramis
#42. It's like the old rule-if you introduce a gun into the first act of a play, it's going to be used in the third act. So if you do a movie about criminals, you have to accept there's going to be Some action.
Harold Ramis
#43. 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.
Harold Ramis
#44. 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.
Harold Ramis
#45. No matter what I have to say, I'm still trying to say it in comedic form.
Harold Ramis
#46. I always claim that the writer has done 90 percent of the director's work.
Harold Ramis
#47. When you grow up in Chicago, your whole family is counting on you to go to college and do something distinguished. The last thing you're thinking is that you're going to make a career in show business.
Harold Ramis
#48. I've been directing for 25 years almost, and I've only directed nine films in that time because I like to be careful.
Harold Ramis
#49. The rule of thumb for a director or producer - which prevents them from just sticking their names on everything - is that you have to contribute substantially more than 50 percent of the character dialogue and story.
Harold Ramis
#50. 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.
Harold Ramis
#51. First and foremost, you have to make the movie for yourself. And that's not to say, to hell with everyone else, but what else have you got to go on but your own taste and judgment?
Harold Ramis
#52. Some people have a fear of rejecting all the security that comes with family, church and state. They become fundamentalists.
Harold Ramis
#53. 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.
Harold Ramis
#54. Most comedy is not very ambitious. You probably can't name more than a handful of comedies that would qualify for Best Picture.
Harold Ramis
#55. I've always thought that comedy was just another dramatic expression.
Harold Ramis
#56. 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.
Harold Ramis
#57. I never read Playboy before I started working there and stopped reading it the day I quit.
Harold Ramis
#58. 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.
Harold Ramis
#59. 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.
Harold Ramis
#60. You just make sure you don't screw it up. It's going to work as long as you don't mess it up. Hopefully you have plenty of those moments in a big comedy.
Harold Ramis
#61. Life doesn't care about your vision. You just gotta roll with it.
Harold Ramis
#62. 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.
Harold Ramis
#63. Stand-up is every man for himself; you learn from hanging out at these clubs and watching other guys, and then trying not to be like them.
Harold Ramis
#64. The comic impulse is sometimes a reaction to sadness. You feel like you can make one choice or the other.
Harold Ramis
#65. I try to measure the amount of truth in a work rather than just looking at the generic distinction between comedy and drama.
Harold Ramis
#66. 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.
Harold Ramis
#67. As much as we'd like to believe that our work is great and that we're infallible, we're not. Hollywood movies are made for the audience. These are not small European art films we're making.
Harold Ramis
#68. 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.
Harold Ramis
#69. I'm sure that the liability for doing a tracheotomy would be tremendous. You make one mistake, and it's over. Most doctors won't even do it.
Harold Ramis
#70. Analyze This is a good movie because Robert De Niro and Billy Crystal are really good. But without the material to put on the play, of course, they couldn't be good. For me, it starts with the writing.
Harold Ramis
#71. Parents tell us things to protect us, or they educate us from their own misinformation or misconceptions.
Harold Ramis
#72. 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.
Harold Ramis
#73. I had a lot of fun working with John Candy. We had a pretty good rapport.
Harold Ramis
#74. How one handles success or failure is determined by their early childhood.
Harold Ramis
#75. I met someone who said they'd figured out my genre: "madcap redemption comedy." I'll buy that.
Harold Ramis
#76. Billy Crystal knows how to make people laugh. He's got 30 years on stage ... there's no telling him what's funny.
Harold Ramis
#77. 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
#78. 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.
Harold Ramis
#79. Nothing reinforces a professional relationship more than enjoying success with someone.
Harold Ramis
#80. Where's the great pay? Where's the travel? Where's the Winnebago, Goddamnit!
Harold Ramis
#81. When someone's an actor and you're an actor, you meet them and you feel like you know them. We're in the same business, and we all speak the same comedy language.
Harold Ramis
#82. My characters aren't losers. They're rebels. They win by their refusal to play by everyone else's rules.
Harold Ramis
#83. Everyone has experienced laughing at a funeral, and not even inappropriately. It could be a response to a moment of absurdity or some fond memory. We're human beings so we understand that laughter and crying aren't always disparate emotions.
Harold Ramis
#84. Acting is all about big hair and funny props ... All the great actors knew it. Olivier knew it, Brando knew it.
Harold Ramis
#85. 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.
Harold Ramis
#86. Most comedies are calculated. They tend to pander. They're not about anything important.
Harold Ramis
#87. 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.
Harold Ramis
#88. There's something very edgy about Bill Murray out there improvising.
Harold Ramis
#89. You can't not have feelings about country clubs, whichever side you're on.
Harold Ramis
#90. I think of myself as a real writer, not just someone who dabbles in it, so I deserve some credit.
Harold Ramis
#91. Never hit anyone in anger, unless you're absolutely sure you can get away with it.
Harold Ramis
#92. Just expressing contempt for your leaders doesn't really accomplish anything.
Harold Ramis
#93. I made a handshake agreement with my best friend in college, Michael Shamberg, who is now a movie producer. We used to write shows together, and we said, "Let's only do what's fun. Let's never take a job where we have to dress up in a suit."
Harold Ramis
#94. 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.
Harold Ramis
#95. 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.
Harold Ramis
#96. I want to explore marriage without the usual Hallmark Card platitudes. Life is difficult, and I like movies that acknowledge that.
Harold Ramis
#97. I'm not a believer in the pratfall. I don't think it's funny just to have someone fall down.
Harold Ramis
#98. 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.
Harold Ramis
#99. We are all several different people. There are different aspects of our nature that are competing.
Harold Ramis
#100. I look for the meaning in what's funny, and I look for what's funny about things that are meaningful to me.
Harold Ramis
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