Henry Ian Cusick Quotes

On 'Supernatural,' you go to a location and another location, and every week they do amazing things up there. You have to kind of hit the ground running and really start to look to the core of the story you're trying to tell.

In TV, you don't know everything. The writers only give you scripts before you shoot the episodes. They keep you on your nerve.

I like the detail work of telling a story in small pieces, as is done in movie-making, and also the long leap of faith needed to see a theatre performance through each night. Both require focus and self-discipline.

The thing with film and theater is that you always know the story so you can play certain cues in each scene with the knowledge that you know where the story's going to end and how it's going to go. But on television nobody knows what's going to happen, even the writers.

Every now and then I'll do little things, a short story or something, that doesn't have any fantastical elements, but mostly I like the power of playing God and I like to imagine things.

A novel should be a book of questions, not a book of answers.

When I was in school, I was always writing scripts and dressing up as characters. I'd constantly be that guy who'd get up on stage. I used to write imaginary TV shows, like soap operas, for fun.

The director in TV and the writer and the creator are working very much hand in hand.

Every day, I learn something new. I think one of the most exciting things for a writer is to work on a TV show. It's like a novel. You have a really long time to develop and learn about the characters, and you can just really keep digging in deeper, every week.

I'm trying my hand at writing. I'm writing a couple of projects for HBO, a half hour comedy and a miniseries.

I really like writing television, and I like the collaborative writers room feeling. It's ten people, and you're together every day laughing your heads off.

Jeff Eastin is good in that he'll tell me a plot twist that's coming up if he thinks it would be something Peter would know ahead of time, and if it's something that would be a surprise to Peter, I'll tell Jeff, 'Oh, don't tell me. I don't want to know.' And then it's exciting to read it and exciting to play it.

In an ideal world, I'd love to work on something that is on par with 'Lost' or better than 'Lost.'

I remember the guest stars who came, they were always trying to find a new plot for their characters because they wanted to stay. It was really a great working environment.

When you write a movie, you have a hundred collaborators. But when you write a novel, it's yours.

My gut feeling about sequels is that they should be premeditated: You should try to write a trilogy first or at least sketch out a trilogy if you have any faith in your film.

Sometimes they keep us in the dark, but it's TV, so sometimes they keep us in the dark because even they don't know yet. You know what I mean? So, it sort of develops as it goes along and according to various needs that arise.

I was inspired to become a writer by horror movies and science fiction.

Fiction, even when it's grim and hard, is fun.

In a way, 'Lost,' or maybe TV in general, is a kind of a contract between the writers and the viewers. And the actors - of course we have a great deal to do with it - but where the drama's made, sort of where the meeting of minds is, is between those two parties: writers and audience.

The writers are the backbone in television, like in film, but eventually, as an actress, I can bring something.

I think that fiction has a certain power.

I had been contemplating working on fiction show for some time and 'Humsafars' seemed like the perfect choice.

We all have great faith in the writing team that puts together 'Heroes.'

I'm especially keen to work with good scriptwriters on stories we have developed.