David Giuntoli Quotes

I like the idea of shows where I don't know where I'll be at the end of the season.

As a viewer, I really want to watch author-backed stories, and there is something amazing about thrillers, the way it captivates your imagination.

When you have 12 hours of storytelling, the cool thing about it is that you get to really leave people with question marks, but hopefully wanting to come back.

In a crime novel, if you are going to have a big revelation in chapter 30, you have to plant the information in chapters three and 11.

To answer that I have to describe what I think is my responsibility as a thriller writer: To give my readers the most exciting roller coaster ride of a suspense story I can possibly think of.

You just never know what the grand plan is on 'Dexter,' so I didn't know if I was going to make it to the next episode, let alone the next season!

It's not that I don't enjoy a good mystery that comes and goes in a hour. I do, but God, 'Breaking Bad' and 'Saul' unfold like novels.

If we can continue to tell stories where fans don't know what will happen next, I think that will be a plus in this 'Divas Revolution.'

Cliffhangers are a lot of fun, but I think they can be easily abused if you're not careful.

I was doing 'Homeland' and read the first two episodes, and all I wanted was episode three to know what would happen next.

I love to go into a movie and have no idea what's going to happen in it.

Forget narrative, backstory, characterisation, exposition, all of that. Just make the audience want to know what happens next.

Narrative tension is primarily about withholding information.

It was unpredictable, good storytelling that brought you back each week.

All the old school Young Adult novels inspired me. I grew up reading R.L. Stine, Christopher Pike, Richie Cusick, and so on. I loved how you never really knew who the 'bad guys' were in their works, and I wanted to capture that feeling with 'Don't Look Back.'

I think people enjoy a series. When you like a story, many readers want more of the same, which is dandy, if the author and the characters have more to say.

That's how you get surprises, because what movies are all about is surprises.

Giving consumers the choice of having it all in one big bite means different viewers are in many different places in the book, making it hard to discuss without spoiling the plot. The intervals between first-run programming provide a space for communion and that tantalizing sense of anticipation.

I try to write stories that are thrilling and full of mystery and funny all at the same time, stories that raise moral questions but come up with very few moral answers, stories that emotionally touch readers through the characters.

In particular, I'm drawn to the stories that have big, high concepts and real characters at their heart. And I love where those two worlds meet, and 'Edge of Tomorrow' is the perfect canvas to explore that.

There's this thing in TV that I find hysterical where the writers and creators will ask us if you want to know what happens to your character or if you want to experience it episode by episode. In the theatre, we always know the ending; we always know where the character is going.

I personally love a cliffhanger - I think it just extends the pleasure of viewing.

That's what fiction writers do: create characters and do terrible things to them for the entertainment of others. If they feel guilty enough, they write happy endings.

I like making stories and characters that people can relate to. I also like giving the audience a departure from whatever they're thinking about in their life and enjoying a show or a movie.

You can watch any episode you want and have a compelling story being told.