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Eric Kripke Poster

Biography

Jump to: Overview (2)  | Mini Bio (1)  | Family (2)  | Trivia (3)  | Personal Quotes (14)

Overview (2)

Born in Toledo, Ohio, USA
Height 5' 10½" (1.79 m)

Mini Bio (1)

Eric Kripke is an American writer and television producer. He came to prominence as the creator of The CW fantasy drama series Supernatural (2005-2020), where he served as show-runner during the first five seasons. Kripke also created the post-apocalyptic drama series Revolution (2012-2014) and co-created the science fiction series Timeless (2016-2018). Since 2019, he has served as show-runner of the superhero series The Boys, which he developed for Amazon Prime Video.

- IMDb Mini Biography By: Bonitao

Family (2)

Parents Kripke, Larry
Kripke, Joan
Relatives Saul Kripke (cousin)

Trivia (3)

Graduated from USC School of Cinema-Television (1996).
Is a huge fan of the 'Hellblazer' comics and says he created the character of Castiel on 'Supernatural' after being unable to feature John Constantine on the series. Castiel's outfit mirrors Constantine's exactly.
He is second cousin once removed to Saul Kripke, the famed analytic philosopher.

Personal Quotes (14)

Beyond all our Blackberries and iPhones, we're dangerously separated from our food and water supplies.
I like to tell stories that have beginnings, middles and ends.
If I had a worldview, and I don't know if I do,but if I did, it's one that's intensely humanistic.
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.
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.
When you start a show, the plans are not set in stone. They're really mutable, cocktail napkin sketches.
People simply don't make eye contact anymore.
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?'
It's hard asking someone with a broken heart to fall in love again.
Television showrunners are a foolishly optimistic bunch.
Mythologies become exhausting burdens, from a writer's perspective.
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.
People love a good mystery; I understand that.

See also

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