Movies

Harold Allen Ramis (/ˈreɪmɪs/; November 21, 1944 – February 24, 2014) was an American actor, comedian, director and writer. His best-known film acting roles were as Egon Spengler in Ghostbusters (1984) and Ghostbusters II (1989), and as Russell Ziskey in Stripes (1981); he also co-wrote those films. As a director, his films include the comedies Caddyshack (1980), National Lampoon's Vacation (1983), Groundhog Day (1993), Analyze This (1999) and Analyze That (2002). Ramis was the original head writer of the television series SCTV, on which he also performed, as well as a co-writer of Groundhog Day and National Lampoon's Animal House (1978). The final film that he wrote, produced, directed, and acted in was Year One (2009).

Ramis's films influenced subsequent generations of comedians, comedy writers and actors. Filmmakers and actors including Jay Roach, Jake Kasdan, Adam Sandler, Judd Apatow, and Peter and Bobby Farrelly have cited his films as among their favorites. Along with Danny Rubin, he won the BAFTA Award for Best Original Screenplay for Groundhog Day.

Early life
Ramis was born on November 21, 1944, in Chicago, Illinois, the son of Ruth (née Cokee) (1919–2001) and Nathan Ramis (1915–2009), who owned the Ace Food & Liquor Mart on the city's far North Side. Ramis had a Jewish upbringing. In his adult life, he did not practice any religion. He graduated from Stephen K. Hayt Elementary School in June 1958 and Nicholas Senn High School in 1962, both Chicago public schools, and in 1966 from Washington University in St. Louis, Missouri, where he was a member of the Alpha Xi chapter of Zeta Beta Tau fraternity.

Afterward, Ramis worked in a mental institution in St. Louis for seven months. He later said of his time working there that it:

…prepared me well for when I went out to Hollywood to work with actors. People laugh when I say that, but it was actually very good training. And not just with actors; it was good training for just living in the world. It's knowing how to deal with people who might be reacting in a way that's connected to anxiety or grief or fear or rage. As a director, you're dealing with that constantly with actors. But if I were a businessman, I'd probably be applying those same principles to that line of work.