A Quote by Kevin Grevioux

I think that you take the path of least resistance. And for a lot of people comedy is that path. I mean, even against mainstream, it's easier to sell a comedy than a drama.
I want to do more drama. Comedy is the path of least resistance for my company. People know we can do them. People know they get a good response. People want to make them. Who am I to push up against that?
There's an awful lot about our society that is at odds with the basic message of "don't smoke, be active, eat a healthy diet, and by the way control stress and get enough sleep." We don't make those things easy. We ideally would make health lie along the path of least resistance. But if not the path of least resistance, there at least needs to be a path so you don't have to bushwhack your way there.
I would say I've actually done a lot more comedy than I've done drama. It's weird the way that worked out, because when I came out of theater school I took myself way too seriously, so it's kind of ironic that I ended up sort of going down the comedy path.
My experience - and it might be just the kind of comedy that I do, which is usually sketch comedy - is that there's a lot more texture and subplot in drama than in comedy.
Always work to cause your horse to follow the path of least resistance. Then place an opening for him to pass through so that the path of least resistance becomes the direction you want him to go in.
They're going to clear cut your best thoughts for the sake of profit unless you learn to resist, because the profit system follows the path of least resistance and following the path of least resistance is what makes the river crooked!
I have done much more dramatic work than comedic work, but I think comedy is harder than drama in a way. I think it's one of those things that's constantly discussed - people who do comedy think it's harder, people who do drama think it's harder. Usually drama is the one that gets this highbrow respect.
Comedy scares me a lot. I feel like it's way harder than drama. I think my safety net is definitely drama, and I would love to kind of be able to be able to push into the comedy world and do something kind of like a Christopher Guest kind of style show. That, to me, is my kind of comedy. Like, Ricky Gervais comedy. That's my kind of thing.
Comedy scares me a lot. I feel like it's way harder than drama. I think my safety net is definitely drama and I would love to kind of be able to be able to push into the comedy world and do something kind of like a Christopher Guest kind of style show. That, to me, is my kind of comedy. Like, Ricky Gervais comedy. That's my kind of thing.
I really wanted to do a comedy. I've done a lot of drama, and comedy was the one genre I was not being offered. So I became obsessive about getting one. I tried with two little parts in comedies that were more mainstream, I was kind of fumbling around, and then I read The Brothers Bloom and knew it was the one I wanted to jump into. Did it take adjusting? Actually, it's not really any different from doing drama.
As a writer, I haven't delved into dramatic writing. As an actor, I could always, even more so than comedy, do drama. When you do your comedy and your drama, your acting style doesn't change. If it's a comedy, the situations and the characters might be a little funnier, but you're just trying to be honest.
I've always thought that comedy was just another dramatic expression. I try to measure the amount of truth in a work rather than just looking at the generic distinction between comedy and drama. There's a lot of bullshit drama that leaves you totally cold. And there's a lot of wasted comedy time too. But when you get something honest, it doesn't matter what label you give it.
I like comedy, but I like comedy as a device in drama. It's more interesting for me to use comedy to seduce people into thinking about something serious. If you want to hit a beat in a drama, you can distract people with a little comedy, and you can punch them in the gut with some emotion.
I don't play comedy as comedy. That would be the biggest trap. I think about the characters and their situations. Then you don't have to worry where the laugh is going to be. But comedy is harder than drama.
Obviously, when you do something with drama and comedy in it - and by that, I mean a scene that has drama and comedy in it - you know the minute you introduce music, you're either scoring the drama or you're scoring the comedy, and therefore the scene becomes either dramatic or comedic.
People seem to want to give 'Flowers' a comedy or a comedy-drama label. I suppose it's closer to comedy-drama, but it feels like it requires a whole new definition all of its own.
This site uses cookies to ensure you get the best experience. More info...
Got it!