I think that one of the greatest perspectives that I have, from being a buyer for my whole career until I became a producer, is that I have a pretty good understanding of the buyer's mentality.
My daughter and I have this thing we call a PMA: 'perfect moment alert.' I try to really notice when we're having a PMA.
I am happy to keep working on books because I'm always reading, and I'm always trying to fall in love.
It's definitely a tough blow to your morale to get fired.
I think that women are underrepresented behind the camera as directors.
There are still so few female directors. There are far fewer writers than we'd like to see.
Suzanne Collins, it was such a big thing for me to make the handshake with her and to say, 'You can trust me. I will not screw up your books. And I won't let them be diluted and softened. And I won't let them be exploited and made guilty of the sins that are being commented on in the books.' I take that really seriously.
Ultimately, I am very filmmaker oriented, as a producer.
When you read a book, 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.
Ultimately, only audiences decide what's a franchise.
Our young people live in a world in which there's violence wherever you turn.
Honestly, I don't think it's harder to be a producer as a woman. I think it helps me because I don't get bogged down in shows of male dominance that can sometimes get in the way of the best idea prevailing.
Ultimately, mentorship plays such a big role in breaking directors that successful male directors tend to reach the helping hand to guys who remind them of themselves. We need more women directors so they can reach out to girls who remind them of themselves.
There is a variety of different kind of producers. I'm a very hands-on, creative producer. I find material that I think would make a good movie or TV show, find the right financier/studio/network, hire a writer, get a good script, find a director, and collaborate with him/her to cast the movie and hire department heads.
As a studio executive, I took the approach that people are competent until proven otherwise. But when you make a movie, because there is so little time to fix things when they break, you have to almost come to it with the mindset that everyone is incompetent until proven otherwise.
We owe it to the audience to put more characters onscreen that reflect them and that speak to issues of race and gender as well as to a character's sexual preference.
I realized so much of my college years were spent not wanting to be gay. I just imagined how different it would be if I were going through that experience in 2016 as opposed to 1984.
I've never adapted a book I didn't love.
Anytime that someone defies the status quo and defies oppression, it feels like a step in the right direction.
We always want to congratulate ourselves at having made more progress than we actually have.
