I am very filmmaker oriented, as a producer. I think the most important thing is that you have to really choose the players carefully.

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.

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.

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.

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.

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.

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.