Eric Kripke Quotes
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A show is going to be good and fun to work on, if the research is interesting.
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Every so often, you want to map out your plot mythology but never so specifically that you can't let a story surprise you. You want to allow the type of action of the writer's room so that you have the ability to take a left turn.
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Kids aint supposed to be grateful! They're supposed to eat your food, break your heart.
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I like to find ideas where the research is going to be fun.
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I'm mostly coming at the superhero legends as an outsider, I know them and I studied them but I didn't really grow up with them, but I think it allows me to sort of analyze them in a way that's kind of interesting.
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When I am kicking around show ideas, or really any idea, usually an image comes to me. I don't really start with a character or a logline like, "What if the electricity turned off?"
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I'm not a fan of endless mystery in storytelling - I like to know where the mythology's going; I like to get there in an exciting, fast-paced way - enough that there's a really clear, aggressive direction to where it's going, to pay off mystery and reward the audiences loyalty.
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I have a bad habit, in the shows that I run, of killing off the people that I love.
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I really am a very research-oriented writer.
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It's always better to go personal and painful than to go big.
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Let's be honest, any show will live or die based on how good the characters are, how good the actors are, how complicated the relationships are, how grounded they are and how much heart they have.
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Television showrunners are a foolishly optimistic bunch.
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When you're writing TV or movies your vernacular is time, it's all based on rhythms, a character takes a beat or two characters have a moment, like everything is about time. And when you're writing a comic, everything is about space. It's how many panels to put on a page, when should you do a full page splash, what is the detail that you see in any particular image.
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You think you're funny? I think I'm adorable.
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I've always said at the beginning of every single season of the show when I was running the show in the writers' room, "This is the last season, so let's smoke 'em if we've got 'em."
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I like to tell stories that have beginnings, middles and ends.
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When you do 22 episodes of a network show, it's incredibly useful to have a format that gives you a jumping-off point for a story.