As a producer, you can't break up w/your own project. It's like sleeping with someone that you don't like... Forever.

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.

When you read a book [The Hunger Games], 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. In the book, it's great when she can push a button and food comes up, as per your order.

I felt that there were so many things that could go wrong, in adapting The Hunger Games , and I had this fierce desire to protect this book that she had written. At that time, I read the second book, in manuscript form, and so I saw where she was going with the series. I was able to convince Suzanne [Collins] to trust me with the books.

You are there to support the vision of the people who you choose to excute the movie.

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.

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.