A Quote by Harold Ramis

I really only worked for about a month on 'Meatballs.' What happened was that Ivan Reitman figured out that studios wanted to meet everybody involved with 'Animal House' except the producer. So he thought he'd better start directing.
Studios were just run differently. There really was a head of a studio. There were people who loved their studios. Who worked for their studios and were loaned out to other people and everybody sort of got a piece. Well now there's a handful now.
Ernie Hudson was new to the comedy world, and being the fourth Ghostbuster, he would have ideas, and he would talk to Ivan Reitman, and Ivan would kind of put him off. I could see how disappointed he was.
Like Ivan [Reitman] has said, there's a lot that a life encompasses.
I actually worked for a small company in Ohio that sort of farmed out work from Disney and Dreamworks, so I really only ever worked in two studios.
Can you sue yourself for plagiarism? If so, then 'Old School' has presented Ivan Reitman with a case.
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.
I wanted to fold into the 'Hellraiser' narrative something about the guy - the Frenchman Lemarchand - who made the mysterious box, which raises Pinhead. I figured, 'Well, what would have happened to him?' He might well have been taken to Devil's Island, and I thought that would be a pretty cool place to start the movie.
What really happened was one day in my late five I went out and I found my dad in the garage staining some wood because sometimes he makes furniture for the house. I said, "Could I experiment a little bit?" and he said sure so I experimented and I realized that it's so fun! You can express yourself, you can use your imagination, and in just that little time I wanted to change the world for the better. After that wonderful experience I thought, how about painting?
I really didn't even pick producers. I just picked beats, except for Dre - he's the only producer I knew I wanted to work with.
When the media would call and want to interview me, I thought it was 'cause they really wanted to find out what I thought about things. I thought it was because they really wanted to find out who I am. That's not what they wanted. They already in their minds knew who I was and they didn't like it, and they wanted face-to-face opportunities to expose my defects and my problems and my racism and bigotry and all this.
I keep joking that I'm in Jason Reitman Film School, because I keep asking him questions every single day about directing and I have a list of things that he's told me to do and not do and I definitely couldn't learn from a better person.
I think from the age of thirteen, I really wanted to be a producer and I've always thought that the producer was the top of the tree.
I think I was about 16 when I first figured I wanted to be an actor. I wanted to be a fighter pilot before that, but then I thought I don't want to kill people so that ruled that out.
If I'm going to the White House, my alarm goes off at 5:00 A. M. Typically there is no snoozing; jump out of bed, text my producer, often start texting with sources if there's breaking news that's happened overnight, and I'm off and running from that moment on.
Everybody thinks some times that science is done as a master plan and that somebody like me came from Mars and figured out everything and so on, but that's really not the way it worked.
When I worked on my game, that's what I thought about. When it happened, I set another goal, a reasonable, manageable goal that I could realistically achieve if I worked hard enough. I guess I approached it with the end in mind. I knew exactly where I wanted to go, and I focused on getting there.
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