Nothing reinforces a professional relationship more than enjoying success with someone.— Harold Ramis
The most whopping Harold Ramis quotes to get the best of your day
No matter what I have to say, I'm still trying to say it in comedic form.
I had a lot of fun working with John Candy. We had a pretty good rapport.
My characters aren't losers. They're rebels. They win by their refusal to play by everyone else's rules.
Acting is all about big hair and funny props.
.. All the great actors knew it. Olivier knew it, Brando knew it.
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.
I collect spores, molds, and fungus.
Find the most talented person in the room and if it's not you, go stand next to him. Hang out with him. try to be helpful.
Billy Crystal knows how to make people laugh.
He's got 30 years on stage... there's no telling him what's funny.
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.
Well, for me, it's the relationship between comedy and life - that's the edge I live on, and maybe it's my protection against looking at the tragedy of it all. It's seeing life in balance. Comedy and tragedy co-exist. You can't have one without the other. I'm of the school that anything can be funny, if seen from a comedic point of view.
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.
I never work just to work. It's some combination of laziness and self-respect.
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.
Comedy is essentially made by young men, or older men with some form of arrested development, for young men or immature older men.
I'd like to think I'd never do a gratuitous fart joke.
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.
How one handles success or failure is determined by their early childhood.
The cutting room is where you discover the optimal length of the movie.
We are all several different people. There are different aspects of our nature that are competing.
Life doesn't care about your vision. You just gotta roll with it.
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.
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.
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 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.
You can't not have feelings about country clubs, whichever side you're on.
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."
I'm not a believer in the pratfall. I don't think it's funny just to have someone fall down.
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.
I've been directing for 25 years almost, and I've only directed nine films in that time because I like to be careful.
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.
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.
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.
Parents tell us things to protect us, or they educate us from their own misinformation or misconceptions.
I'm terrified beyond the capacity for rational thought.
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.
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.
You can't love somebody into a state of mental health.
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.
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.
I can't imagine a successful comedy movie without a successful comedy performance at the heart of it.
My only conclusion about structure is that nothing works if you don't have interesting characters and a good story to tell.
Just expressing contempt for your leaders doesn't really accomplish anything.
No one will laugh at how great things are for somebody.
I did a comedy with Al Franken about his character Stuart Smalley, which was really about alcoholism and addiction and codependency. It had some painful stuff in it. When we showed it to focus groups, some of them actually said, "If I want to see a dysfunctional family, I'll stay home."
There's something very edgy about Bill Murray out there improvising.
I never read Playboy before I started working there and stopped reading it the day I quit.
I've always had that overweening desire to be liked by the audience.
The child says, "Well geesh, the institutions that I'm supposed to respect - the church and the government - they're telling me things that don't appear to be true. Either I'm crazy or they're crazy." That creates the Absurd Child. The Absurd Child is one who says, "Well, I think they're crazy." So you live in this state of alienation from your culture and your society and your family because you see this rampant bullshit around you.
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.