I love the Hunger Games books. Certainly, the fans are there. They're grown enormously since the beginning. When I first brought the books to Lionsgate, they had sold about 150,000 copies, which is a very good result for a YA book. And to their credit, Lionsgate was very excited and committed to the movie, from the beginning.

The hiring of Phil Messina, the production designer, was a big decision. He's so gifted, and his ideas were always so smart and rooted in American history and architecture. Nothing feels like it's not us, or couldn't be us, and I think that's very important.

We knew that we wanted TheHunger Games to be PG-13 because she wrote the book for readers 12 and up, and we wanted them to be able to see the movie. It's a movie that is meant to be relevant to young people, and not exclude them, in any way.

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.

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.

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.

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.