"I don't like doing movies, period. Movies are hard. I like TV"
About this Quote
Kathy Griffin’s blunt little rant lands like a punchline because it treats an entire prestige ladder as a nuisance. In the celebrity economy, movies are supposed to be the coronation: bigger budgets, bigger screens, bigger legitimacy. Griffin flips that hierarchy with the kind of unvarnished practicality that’s always been her brand. “Period” isn’t just emphasis; it’s a mic drop that preempts debate, as if she’s already heard the industry scolding about “serious” work and refuses to audition for approval.
The subtext is labor, not art. “Movies are hard” sounds almost comically obvious, but the point is what “hard” means for a comedian whose power comes from immediacy: long shoots, fragmented scenes, waiting around for lighting, hitting marks instead of instincts. Film asks you to manufacture spontaneity on a schedule. TV, especially the kind Griffin thrived in (talk shows, reality-adjacent formats, sharp turnarounds), rewards velocity and voice. It’s a medium where personality is the product, not something you sand down to fit a script.
There’s also a class-conscious edge to it. Comedy has always been policed by gatekeepers who decide what counts as “cinematic” enough to be respectable. Griffin’s preference reads like a refusal to be “upgraded” into someone else’s idea of merit. It’s a joke, sure, but it’s also strategy: choose the arena that matches your rhythm, keep the control, keep the audience close.
The subtext is labor, not art. “Movies are hard” sounds almost comically obvious, but the point is what “hard” means for a comedian whose power comes from immediacy: long shoots, fragmented scenes, waiting around for lighting, hitting marks instead of instincts. Film asks you to manufacture spontaneity on a schedule. TV, especially the kind Griffin thrived in (talk shows, reality-adjacent formats, sharp turnarounds), rewards velocity and voice. It’s a medium where personality is the product, not something you sand down to fit a script.
There’s also a class-conscious edge to it. Comedy has always been policed by gatekeepers who decide what counts as “cinematic” enough to be respectable. Griffin’s preference reads like a refusal to be “upgraded” into someone else’s idea of merit. It’s a joke, sure, but it’s also strategy: choose the arena that matches your rhythm, keep the control, keep the audience close.
Quote Details
| Topic | Movie |
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