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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.

Nina Jacobson

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Nina Jacobson
Age: 58
Born: 1965
Born: November 30
Film Producer
LA
California
Important
Couldn
Hiring
Always
Decision
Gifted
American
Rooted
Think
Bigs
Designer
Thinking
History
Production
Like
Ideas
Productions
Nothing
Architecture
Feels
Smart
Phil

More quotes by Nina Jacobson

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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.
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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.
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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.
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You are there to support the vision of the people who you choose to excute the movie.
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I can't imagine Hunger Games, even with its very popular books, being nearly a success that it's been without Jen Lawrence being the perfect person to play that role - a very modern celebrity, a very down-to-earth, accessible, celebrity.
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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.
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I was an executive before I was a producer, and I've seen franchise fever grow, over the course of my career. The one thing that people always forget is that it's only a franchise if audiences really want to see more of it. It's up to them. It's really not up to us.
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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.
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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.
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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.
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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.
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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.
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[On The Hunger Games success]: It hit on the zeitgeist of the disparity b/w the haves and have nots.
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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.
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I never had to put myself in somebody else's shoes.
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As a producer, you can't break up w/your own project. It's like sleeping with someone that you don't like... Forever.
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Ultimately, I am very filmmaker oriented, as a producer.
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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.
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When fans get very passionate about a movie, they just want you to do it well. They don't want you to screw it up. Their idea of doing it well might be different than yours, but ultimately, they really just don't want you to mess up the thing that they love.
Nina Jacobson