Daniel Dae Kim Quotes

Now that I know what goes into making a pilot, keeping it on the air, and keeping your fans, I'm at a point now where I do a pilot and just hope for the best. If it doesn't work out, it doesn't work out.

Just because it reads well doesn't mean it's always going to look good on screen. Then, a network or studio has to pick up the show, and then they have to order more episodes, and then people have to watch it. It could be the greatest thing on television that nobody ever watches.

Having gotten TV shows on the air, that's so much less work that trying to get the 'Veronica Mars' movie made.

If you go to pilot then you are probably going to go to series. That's my feeling about it.

Television and movies just take so long. If you pitch a show or develop a project, it can be a year before your show even gets on the air, if it gets picked up.

Like, to do a pilot, you don't know what's going to happen with it.

I had done a directing producing job before on 'Big Day' and 'Jake in Progress,' and those are two shows where I directed the pilot and stayed with it in series.

There was so long from when we did the pilot and then when the show was eventually picked up by Comedy Central - and, in fact, we had to shoot the pilot twice.

I've always had a show that went seven episodes or 13 episodes or whatever. And I've never had a show that's gone past a first season. It really is a lot of work.

As actors, if you get a pilot on HBO or on USA, your odds are good that it's going to get picked up.

It's such a process to get a show off the ground initially. And then, to already have a second season announced is a dream come true for any actor.

The only reason to do a television series is to make it successful. And if it is successful, that's a six or seven year commitment.

It's rare to get a part in a show that's greenlit, let alone two shows that have been greenlit.

In television, things move quite slowly. It can take years to get a show off the ground.

TV is a hard thing to do. It's a hard thing to get a show.

Working in MTV's development team, my days would consist of pitches and deciding which concepts we wanted to buy. We would then develop those into a pilot. Very few ended up making it to a full series, but if they did, I would manage the project alongside the show's creators.

I did a pilot for Anything But Love in 1988 that didn't sell.

There's this funny thing with pilots that you have to sign the contract to do the whole job before you're even offered the part. And they make about a million pilots a year, but hardly any of them get turned into series.

When you're starting up a show, you don't really know what direction it's going to go.

I don't know much about writing a show or being a show-runner on a show, but I can only imagine that when you first cast a show and you first do a pilot, there are so many components that you're throwing into the mix and you're not sure how they're going to develop.

There are some great shows that come and go really fast, either because the network doesn't give them a chance or they just don't grab on to the psyche of the country quickly enough.

I've never been on a TV show for more than a season and you have to continually keep it interesting and you have to keep it connected, even as you change.

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 worked at a local television station and I got a chance to direct and do all those things - worked kiddie shows, Ranger House show with the hand puppets and things like that.

The pilot system in television is utterly broken. It's a huge waste of money.