Harold Ramis
Harold Ramis
Harold Allen Ramiswas an American actor, director, writer, and comedian. His best-known film acting roles were as Egon Spengler in Ghostbustersand Ghostbusters IIand Russell Ziskey in Stripes; he also co-wrote those films. As a writer-director, his films include the comedies Caddyshack, National Lampoon's Vacation, Groundhog Day, and Analyze This. Ramis was the original head writer of the television series SCTV, on which he also performed, and he was one of three screenwriters of the film National Lampoon's Animal House...
NationalityAmerican
ProfessionDirector
Date of Birth21 November 1944
CityChicago, IL
CountryUnited States of America
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.
The comic edge of Ghostbusters will always be the same. It's still treating the supernatural with a totally mundane sensibility. In the world of ghostbusting, there are certain givens. You're always going to have some new invented technology, some pseudo-science that sounds right because we drop enough familiar terms from physics and engineering, and pseudo-methodology, something that people will think they may have read something about before.
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.
Somebody once told me that if you laugh at a George Bush joke, or you send an email cartoon to your friends that makes Bush look like a fool, you feel like you've done something significant. But really, what have you actually done? Just expressing contempt for your leaders doesn't really accomplish anything.
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.
You can't love somebody into a state of mental health.
I've always thought that comedy was just another dramatic expression.
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.
The times change, and to the extent that comedy captures the spirit of the times, it will enjoy success.
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.
I have tons of rescuing fantasies based on the movies I saw when I was growing up. I wanted to be Robin Hood and the Three Musketeers and the Scarlet Pimpernel.
I've got to find a compromise where I don't feel compromised. I've got to find something equally good that they don't feel uncomfortable with. At a certain point, it's no longer about what I thought was right, but it's about this new discovery that happens with the actors. It's nice when the actor is also a writer.
I want to explore marriage without the usual Hallmark Card platitudes. Life is difficult, and I like movies that acknowledge that.
I try to measure the amount of truth in a work rather than just looking at the generic distinction between comedy and drama.