Eric Kripke Quotes

If I had a worldview, and I don't know if I do, but if I did, it's one that's intensely humanistic. [That worldview] is that the only thing that matters is family and personal connection, and that's the only thing that gives life meaning. Religion and gods and beliefs - for me, it all comes down to your brother. And your brother might be the brother in your family, or it might be the guy next to you in the foxhole, it's about human connections.

I've had a lifelong obsession with urban legends and American folklore.

We are definitely living in the butterfly effect theory, where any change that is made in the past is going to have a very logical cause-and-effect ramification of the present.

In TV and movies, you kill yourself spending all this time to think up the symbolism or what if that deer that runs across your hero's path somehow conveys what's going on inside your hero's head? When a lot of times, you just want to hear what he's thinking.

I have a bad habit, in the shows that I run, of killing off the people that I love.

Kids aint supposed to be grateful! They're supposed to eat your food, break your heart.

It's hard asking someone with a broken heart to fall in love again.

I like to find ideas where the research is going to be fun.

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?"

Television showrunners are a foolishly optimistic bunch.

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.

I've never counted my chickens before they've hatched.

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."

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.

Your half-caff double vanilla latte is getting cold over here, Francis.

I really am a very research-oriented writer.

Beyond all our Blackberries and iPhones, we're dangerously separated from our food and water supplies.

When you start a show, the plans are not set in stone. They're really mutable, cocktail napkin sketches.

The ability to get inside your character's head in a graphic novel is really fun and useful because one, you can really define the character's voice and two, it's a way easier way to convey what the character's thinking by actually laying out what he's thinking.

A show is going to be good and fun to work on, if the research is interesting.

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.

People simply don't make eye contact anymore.

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.

Driver picks the music, shotgun shuts his cakehole.

People love a good mystery; I understand that.