Eric Kripke Quotes

I've started a company, called Tall Girl Productions, and we've got our first project that is purely producing, not writing, with a writer named Evan Daugherty. It's for NBC, it's called 'Afterthought,' and it's science fiction-ish. That's fun.

We got kind of into a rhythm at 'Parks' because there were so many characters that we had an A story, a B story, and a C story just about every episode. So by the middle of that show's run, we always had three stories, and it worked really well.

I read every draft of every episode of every series produced at FX.

A lot of TV is put together by teams, by writing staffs and several different directors. It's a great, very smart way to make television. It's worked for however long TV's been around.

I love doing television; it's such a brilliant way to tell a story over six hours rather over the two hours of doing a movie.

Doing a TV show, you're on an assembly line and it's as cut and dry as that. There are some shows that are exceptions. There are producers that want really special things.

I am the lead on NBC's 'Siberia,' and I loved that experience.

When you're making a television show, it's about the story and arc of the show rather than any particular episode or director.

One of the things that takes a bit of getting used to on an American series is having a different director, and often writer, every week.

I'm very excited to work with everybody on 'The Bridge' - the cast, the writing staff, the executive producers - the show is really good. I'm very lucky to be a part of it.

When I was a teenager, I worked on a show that was about a family.

It's pretty surreal to be doing a show on HBO with pals.

I loved doing 'Gilmore Girls.' I love Amy Sherman-Palladino. I'd do anything with her.

I don't know much about making films or TV programs, but what's cool about being in the studio is that you have more time.

There are times where we are shooting a TV show, and it goes very fast. But everybody has this freedom to still be artists.

I respect the hell out of everyone who does a network show. That is a marathon. It's so many episodes, and it can be a meat grinder. Anyone making a network show, and on top of that making a very good network show, that's an insane feat of Herculean endurance and fortitude.

I did a pilot for Nickelodeon that didn't end up going to series.

It has taken a lot of persuasion for me to take part in an official documentary about 'Only Fools and Horses.' But, as time has gone on, it seems to have been imprinted in television history, and I thought it was only right that I tried to give an accurate insight into how the show was put together.

I do like the process of producing. Later in my career, like when I had the TV show, I was a producer and I've been on a few things.

The thrill of doing television versus features is, in television, you get to focus more on the characters.

The Daily Show writers are incredibly smart and very well plugged-in but occasionally they would need me for certain specific things, and I'd be like, 'Yeah, I completely know how to do that; I can solve that problem,and then I'd be like, 'Mom?

Some of the stuff I get the scripts for, I read it and I'm like, "Wow." We're doing some crazy stuff on this show [Legends of Tommorow]. it's going to be amazing.

I absolutely love television. What's so great about TV is that I can tell 20 stories in a year. If I was working at a feature studio, I'd tell 1% of someone else's story, over the course of four years.

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 was writing for live television. And I said to myself, someday, soon as I can, I have got to do a situation comedy.