Daniel Dae Kim Quotes

Ultimately, I am very filmmaker oriented, as a producer.

I'm a very hands-on producer.

It's not a 'sexy' position, being the producer. You have to be very bossy. You have to be very aggressive.

I think one of the main reason's Rick Rosenthal and Whitewater PIctures decided to 'get in bed with me' on 'Fat Kid' was because I came in with a strong business plan as well as a creative vision on how to make the film.

I don't think I'll ever be a producer who's into taking the meetings and fighting the big fights with studios. I really don't like that part. I'm much more interested in the material.

I think the toughest thing is to describe what a producer does because they basically do everything. They follow a project from the start through the rest of its life and, along the way, are a part of every single aspect of its growth. It's tremendously enriching, though, because you get to know and live with the movie in its entirety.

I've already felt that I want to direct. Being an executive producer is like the best job in the world because you make all these executive decisions and then you leave the money to other people. You don't have to be on set and counting beans.

But it's true, it's nothing new that decisions about what movies are to be made, and how they're to be made, and who's to be hired to do what, and whether you hire somebody to do their job, or whether you hire somebody to fill a position and you tell them what to do.

The great thing about movies is that they're collaborative. And the worst thing is that they're collaborative.

Once you become a producer, you're really selling something. It is a control issue, because you don't really know how it's going to pan out, but the creative control makes it work it.

No agency … wants an issue on the agenda unless it has an efficient and acceptable solution for it.

As a producer, I learned not to declare anything about a movie I'm not directing.

In most cases, I think most executive producers and studio executives really do their best to accommodate you. At least, that's been my experience in most cases.

I do not need a producer. I need only a good production manager. I need only a man who will give me money.

I think people really don't understand what a producer does versus what a director does. I mean, the producer is often the person that is on the movie the longest - it's their material that they are then bringing the director onto to bring it to the screen. Are we overlooked? Absolutely.

The hardest part, for me, is being in the band and knowing the way I want certain things to sound, but also having to listen to opinions, and very valid opinions, of my bandmates. So, sometimes, I'll have to have conversations with them as a producer and then conversations with them as a bandmate.

It is extremely empowering when you are making fundamental and critical decisions on different levels of production, till the final showcase on the screen.

Ever since my first film, I had more producers than scripts. And I've realised that a certain project requires a certain kind of producer for it to be made well.

Film school didn't prepare me for the fact that you have to manage so many different personalities at every stage, and I learned nothing about what to do when a movie was finished.

I've had to tell people that I'm not co-writing. I don't want to do it and that's that.

The usual key to getting films made seems to be a producer's terrier-like determination not to let it go. Unfortunately, such producers often seem prone to sinking their claws into mediocre projects.

Filmmaking is all about people management.

The best thing about being a film producer is I get to spend 99 per cent of my time behind the scenes.

As a producer, it's your job to bang on the table and convince studio heads why great movies should be made.

You see, I believe a producer's job today is as important as that of a director.