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

In the evolution of the [The Hunger Games] movie, Gary [Ross] and I talked a lot about tonal bandwidth and making sure that the look and feel and style and choices of the movie stayed within a certain consistent bandwidth.

I'm very superstitious. I come from a family that's big on not painting the nursery until the baby is home.

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.

We didn't want to dilute or soften the material because that would really be irresponsible, in its own way. The [Hunger Games] books are very intense and very demanding of the reader, and the movie should be that too.

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

Being able to just stick to our instincts and honor the [Hunger Games] books and find a way to stay the course of trying to make the best possible decisions that you would make creatively on any movie, without having your head turned too much by all of the interest, has been a great challenge. It's the best challenge you could ask for, but that was a big challenge.