Eric Kripke Quotes

A wise man once told me family don't end in blood, but it doesn't start there either. Family cares about you, not what you can do for them. Family's there through the good, bad, all of it. They got your back even when it hurts. That's family

I'm going to put out something that I believe in, or I'm not going to do it." I'm really scared of putting out a product that people will say, "Oh, that's not as good as the other thing."

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

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 like to tell stories that have beginnings, middles and ends.

People pitch me the crazy mystery mind-blowing thing all the time. My response is, 'Great, but how do the characters feel about it, and how do we reveal new facets and new dimensions of who they are?'

Mythologies become exhausting burdens, from a writer's perspective.

At the end of day, people are starving and, if people are starving and thirsty and they need to keep their families alive, people become desperate quickly. There are real world examples of this.

What would you rather have, peace or freedom?

Driver picks the music, shotgun shuts his cakehole.

I'm going to take care of you. I gotcha. Because that's my job, right? Taking care of my pain in the ass little brother.

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

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.

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.

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.

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.

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

Amanda: I guess if you can have faith you can't just have it when the miracles happen. You have to have it when they don't.

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

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

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

We say it's a modern American Western - two gunslingers who ride into town, fight the bad guys, kiss the girl and ride out into the sunset again. And we were always talking from the very beginning that if you're going to have cowboys, they need a trusty horse.
- Eric Kripke on the decision to add the Impala

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.

It's hard to make a lot of pop culture references where there's no pop culture.

You think you're funny?
I think I'm adorable.

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?"