Harold Ramis Quotes

When the film was presented in New York, the distributor reproduced the fountain scene on a billboard as high as a skyscraper. My name was in the middle in huge letters, Fellini's was at the bottom, very tiny. Now the name of Fellini has become very great, mine very little.

With American Morons, Glen Hirshberg confidently shoulders his way through the generational pack to claim his rightful place on the summit. These stories are smart, challenging, ripe with feeling, expansive in every way: Horror as it should be writ, and as only the best and most expressive can write it.

Some judge of authors' names, not works, and then Nor praise nor blame the writings, but the men.

I started by writing, with my partner Ed Simmons, a monologue for Danny Thomas, that he performed at Ciro's nightclub in Los Angeles.

There's so much shame involved in not being like everyone else. But I learned that the things that made me unique were good. Dealing with problems can be awful. But in the end I got positive results. I don't think I would have been a writer if I didn't have anxiety.

I must try to set aside half an hour in some part of my day, and consecrate it to diary writing. Give it a name and a place, and then perhaps, such is the human mind, I shall come to think it a duty, and disregard other duties for it.

Part of my mind is working on how to end the thing while I'm going on. You need at least two brains to write.

It's important to tell the artist's story. It's their song! And it's always more fun to write together with the artist!

When you're researching things that have happened, the clear narrative arc is not there already. This is the problem of writing nonfiction for me - writing nonfiction which is about serious subjects and has serious political and social points to make, yet which is meant to be popular to a degree - what happens when the facts don't fit a convenient narrative arc? I guess that for a lot of nonfiction writers that is a central challenge.

I don't think we [with Kate DiCamillo] intended to write a book about friendship, I think we intended to write a book about two friends.

I'm a playwright by trade, and in theater, writers have complete control over everything. Nobody can change a word without your permission. I've had a couple screenwriting experiences that weren't terrible, but they were typical, where executives came in and gave you sometimes good notes and sometimes horrible notes - but they wanted to change the movie that everybody had agreed to make. After a couple of times, it's like, "Why are we doing this?" The story is not going to turn out very good when 13 people are writing it together.

I never claimed to be a low-maintenance gal, but when I'm writing, it's particularly challenging. I lose things constantly: my watch, my glasses, my papers, my mind.

How can love be worthy of its name if one selects solely the pretty things and leaves out the hardships? It is easy to enjoy the good and dislike the bad. Anybody can do that. The real challenge is to love the good and the bad together, not because you need to take the rough with the smooth but because you need to go beyond such descriptions and accept love in its entirety.

Perhaps because the challenges we face in our country are so daunting, we are also tempted by shortcuts. We tell ourselves that if we invent a new acronym, or write a new empowerment charter, we can avoid some of the back-breaking work that sustained progress requires

I have a theory that you can make any sentence seem profound by writing the name of a dead philosopher at the end of it.

I write a lot on airplanes actually because it's completely isolating; there's no one to talk to, there's nothing to do. And then I think a lot of it sort of comes out sitting down with the people I'm co-writing with and talking to them about what I'm going through and what I want to say. It just sort of happens; every song came about in a completely different yet organic way.

I used to give her [my wife] to read the column every week before I sent it to the editors. And sometimes she was so mad - are you crazy? You're not going to send that, or, you're not going to write that about me. So I would go, OK. You have five hours. Go ahead, write the column yourself.

Some writers are only born to help another writer write one sentence.

I'll work by myself for years and then I'll think it'll be fun to et one of my friends like Marshall Brickman or Doug McGrath into a room and not be alone for the writing of the thing; to have the pleasure of taking walks and get lunch together; its sort of a fun process and then I do it and then I get back on my own for a while until I feel the need to do it again.

As such, anything is always possible, even if your protagonist is a plumber. But it's the possibility, the limitless possibilities, of any fake life, that make writing about it so challenging.

When it comes to our money and work lives, most of us have had our challenges, our valleys. Most of us have a couple of files in our head. One, I name "It was my own damn fault." And the other one I name, "I don't know how I will ever forgive those bastards."

People are certainly impressed by the aura of creative power which a writer may wear, but can easily demolish it with a few well-chosen questions. Bob Shaw has observed that the deadliest questions usually come as a pair: "Have you published anything?" - loosely translated as: I've never heard of you - and "What name do you write under?" - loosely translatable as: I've definitely never heard of you.

Paul (McCartney) and I made a deal when we were 15. There was never a legal deal between us, just a deal we made when we decided to write together that we put both our names on it, no matter what.

If I had a staff of even one person, or could tolerate a small amphetamine habit, or entertain the possibility of weekly blood transfusions, or had been married to Vera Nabokov, or had a housespouse of even minimal abilities, a literary life would be easier to bring about. (In my mind I see all your male readers rolling their eyes. But your female ones - what is that? Are they nodding in agreement? Are their fists in the air?)

I'd say it's never a challenge to present white and heteronormative privilege. The hard thing is to write any other way.