From Spider-Man to Squid Game, film producer Kyu C. Lee has helped bring some of the world’s most iconic screen moments to life. After a decade with Sony Pictures Entertainment and now as CEO of Artist Company and Artist Studio, his career has spanned genres, continents and cultural revolutions. Behind the blockbuster titles is a passionate storyteller determined to elevate Asian talent and redefine global entertainment.
We caught up with Kyu to talk about ambition, cultural impact and what it really takes to stay at the top in a fast-moving industry.
Kyu, you’ve had a phenomenal few years. What’s been keeping you busy recently?
It’s definitely been a whirlwind. I’ve been focused on building momentum for our companies, especially with the success of shows like Squid Game, The Silent Sea and All of Us Are Dead. Seeing our talent — Lee Jung-jae, Jung Woo-sung and Cho Yi-hyun — finally receive global recognition has been incredible.
Let’s rewind. How did your journey into film begin?
I started in the creative advertising department at Sony, cutting trailers and supporting senior marketing executives. I was young, wide-eyed and just grateful to be in the building. Running into people you’d only ever seen on screen felt surreal. I soaked up everything I could. It was like being at the heart of the dream factory.
You were with Sony Pictures for 10 years. Was it hard to leave?
Absolutely. It was like leaving home or graduating from college — exciting but nerve-racking. Sony gave me so many once-in-a-lifetime opportunities. But I knew I needed to challenge myself and see how far I could go on my own terms.
You’ve worked on massive titles, from 007 to The Holiday. Any standout moments?
Too many to count. I’ll always have a soft spot for romantic comedies — Hitch, Something’s Gotta Give, 50 First Dates. But the real highlight was being the assistant to the Vice-Chairman. I had a front-row seat to how a Hollywood studio actually runs. The strategy, the politics, the deals — that was my real education.
Is the pressure ever overwhelming?
Definitely. There’s always a new project and new expectations. You can’t afford to coast. In this industry, you’re constantly being measured — by investors, distributors and fans. You have to stay hungry, sharp and ready for what’s next.
Korean content is having a global moment. What’s it been like to witness that shift?
It’s been a long time coming. For over two decades, I’ve watched Korean creatives push boundaries with little recognition. Now, to see Korean dramas and films embraced worldwide, not as niche but as essential viewing, is hugely rewarding. And I believe it’s only the beginning.
Has global visibility brought more pressure to keep raising the bar?
For sure. We’re no longer asking for a seat at the table. We’re hosting the dinner. With streaming platforms like Netflix and Apple TV+ making content globally accessible, we’re responsible for meeting the growing expectations of a worldwide audience. We can’t just be good. We need to be unforgettable.
What’s your vision for the future of Korean film and television?
I want Korean storytelling to become a global habit, part of everyday life in the same way Hollywood films once were. I hope our stories remain bold, diverse and authentic, with creatives from all backgrounds contributing to the evolution.
And personally, what keeps you motivated?
At first, my goal was to build a strong enough career to help lift up the people around me — friends, family and fellow Asian talent. Today, I’m still on that mission. Whether it’s producers or stylists, I want to see them succeed on the global stage. With streaming changing the game, now is the time to show the world how much Korea has to offer.
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