Quotes of All Topics . Occasions . Authors
Dogs in the office are very important.
I've never adapted a book I didn't love.
I never had to put myself in somebody else's shoes.
Ultimately, only audiences decide what's a franchise.
Ultimately, I am very filmmaker oriented, as a producer.
It's definitely a tough blow to your morale to get fired.
I think that women are underrepresented behind the camera as directors.
I'm an ardent fan. All I really had to do was put myself in my own shoes.
Our young people live in a world in which there's violence wherever you turn.
You are there to support the vision of the people who you choose to excute the movie.
When I became a producer, I told myself I will finally be able to bring my dog to work.
There are still so few female directors. There are far fewer writers than we'd like to see.
The "If you build it, they will come" approach to filmmaking has always been helpful to me.
We always want to congratulate ourselves at having made more progress than we actually have.
[On The Hunger Games success]: "It hit on the zeitgeist of the disparity b/w the haves and have nots.
I am happy to keep working on books because I'm always reading, and I'm always trying to fall in love.
It's an exciting time, when you can make your movie on a cellphone. If it's good, it WILL get noticed.
Getting movies developed doesn't do me any good as a producer. It only does me good to get movies made.
[On the racial backlash about Hunger Games casting]: "People should have ignored the five racist idiots.
I'm very superstitious. I come from a family that's big on not painting the nursery until the baby is home.
Anytime that someone defies the status quo and defies oppression, it feels like a step in the right direction.
As a producer, you can't break up w/your own project. It's like sleeping with someone that you don't like... Forever.
My daughter and I have this thing we call a PMA: 'perfect moment alert.' I try to really notice when we're having a PMA.
You're not doing the scene exactly the way it is in the book [The Hunger Games], but the intention of the scene is there.
I know many filmmakers, and shooting in IMAX is challenging. Filmmakers love the vividness and power of those big images.
The way we like to think of ourselves is not the way we look. We like to think of ourselves as more evolved than we frequently are.
I am very filmmaker oriented, as a producer. I think the most important thing is that you have to really choose the players carefully.
There's as much great authorship in the filmmaker community as in the literary community, and I'd love to welcome more filmmakers into the fold.
Sometimes I work in my office, just reading material, meeting writers, working on scripts. Other times, I'm on location. There's a lot of variety.
Only audiences decide what's a franchise. Only audiences decide what's a hit. I have always been mindful of not wanting to be the Miami Heat of movies.
I felt that with each movie, Gary [Ross] adopts a different style. He doesn't have one look that's the Gary Ross look, and I thought that was important.
Little decisions were made, every day. In this movie [The Hunger Games], we really focused on Cinna and we didn't get time to focus on the other stylist.
Deb Zane, our casting director on the Hunger Games was very sanguine, from the beginning, about just blocking out what everybody else says that they want.
Nobody roots for people who presume success. You have to earn success, and success is earned by making a movie that audiences like and want to see more of.
It was very important to me to choose a director like Gary [Ross], whose instincts come from character, who's a storyteller, and who puts characters first.
Suzanne [Collins] was very involved in the development of the script. She wrote the first draft. She was very involved with Billy Ray, when he wrote his draft.
The most powerful decision-making part of the audience is women. Boys have a lot of impact on the industry, but it's often women who impact what stories get made.
Women are making strides in many areas and women have mentored and supported me along the way. I think that women are underrepresented behind the camera as directors.
We owe it to the audience to put more characters onscreen that reflect them and that speak to issues of race and gender as well as to a character's sexual preference.
When you read a book, you create that tonal bandwidth. You set a tone for yourself, as you're reading it, in which everything exists within the world of your imagination.
I've always tried to really focus on The Hunger Games movie, knowing that, yes, these are amazing books and I would feel like a failure, if I didn't get all three of them made.
The IMAX cameras are big and heavy. And they're loud. So you have to be mindful of whether or not they're worth it; I'd say the image quality is incredible and the scale is amazing.
It can really vary from movie to movie what the producer's role is and there are all kinds of producers. There are line producers who do a lot of the nuts and bolts work on the set.
I don't understand why people still behave as though making movies with female protagonists is risky, given that - hello - we do make up over 50 percent of the population, and we go to movies.
I think that one of the greatest perspectives that I have, from being a buyer for my whole career until I became a producer, is that I have a pretty good understanding of the buyers mentality.
I think that one of the greatest perspectives that I have, from being a buyer for my whole career until I became a producer, is that I have a pretty good understanding of the buyer's mentality.
I was focused on The Hunger Games movie with my director, with the studio, and with the cast and crew. We all just focused on making the best possible movie we could, and earning the right to do more.
If the movie [The Hunger Games] were stylized violence that was pretty and fun and cool, which is great when you go see 300 or The Matrix, it would just be out of sync with the fact that they're kids.
To me, a great story well told is a great story well told, and just because the protagonist is a young adult doesn't mean that story has less merit or worth than if the protagonist is a full-grown adult.
The most important part of filmmaking is the collaboration and the ensemble element of it. If you just all focus on the task and the work and try and make the best film that you can then people will come.