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mynightmaresareaboutlosingyou: Jennifer Lawrence covers Rolling Stone Magazine (x)

mynightmaresareaboutlosingyou:

Jennifer Lawrence covers Rolling Stone Magazine (x)

Last summer, the Lionsgate team, including Nina Jacobson, a producer, and Joe Drake, then the studio’s top movie executive, started debating how to handle the movie’s subject. The usual move would have been to exploit imagery from the games in TV commercials. How else would men in particular get…

foxfaced:

The Guardian scans: article 17th March

Credit is nice but not necessary.

(x) (x) hq

Jennifer Lawrence in Parade Magazine 3/12

Jennifer Lawrence in Parade Magazine 3/12

From The Wall Street Journal:

For the producers behind “The Hunger Games,” a movie based on a young-adult novel about a teenage girl fighting for survival and struggling with a love triangle, the guys matter.

The movie doesn’t open until March 23, but soothsayers are already predicting an opening-weekend gross in excess of $100 million. Barclays Capital estimates that the movie will generate $275 million domestically, on par with the most recent installment of the “Twilight” series. The studio, Lionsgate, is hoping to launch a multibillion-dollar franchise. Expectations have already sent its stock price soaring.

To avoid falling short of such lofty predictions, Lionsgate has been picking its way through a minefield of gender issues: reeling in male moviegoers without alienating core female fans. But male audiences, long the driver of blockbuster openings, have proved increasingly fickle as they divide their attention with videogames and other diversions.


Thoughts?! I personally think THG is far more gender-accessible than Twilight ever even pretended to be. The marketing scheme has been brilliant with saving the Peeta stuff for the movie, both on a level of not spoiling fans/keeping the arena ambiguous but also in stressing that this isn’t, at the core, a love story. Four for you, Lionsgate.

Josh Hutcherson for Teen Vogue

The Hunger Games Covers EW “Is it violent?” says director Gary Ross of his PG-13 film. “Yes. Do we back off from what it is? No, we don’t.” The March 23 release of The Hunger Games is nearly upon us. While we can’t make clock turn any faster, we can offer fans of Suzanne Collins’ best-selling dystopian trilogy (and newcomers, too) a deep, behind-the-scenes look into the making of the film, from conception to casting, filming to marketing. Perhaps no bit of casting news was met with greater surprise than Lenny Kravitz taking on the role of Cinna, hero Katniss Everdeen’s deeply cool and compassionate stylist. Kravitz was working on his album, living out of a trailer in the Bahamas and oblivious to the Hunger Games phenomenon, when Ross first approached him to offer him the part. The director had been moved by the musician’s gentle grace in Precious and was further intrigued by the fact that Kravitz already felt a nurturing bond with star Jennifer Lawrence, who had become close friends with his daughter Zoe during the filming of X-Men. “I love that girl,” says Kravitz. “The minute I met her she became a part of the family.” It took one sleepless night of reading a downloaded version of The Hunger Games in his trailer for Kravitz to commit. But Woody Harrelson, who initially turned down the role of Katniss and Peeta’s sodden wreck of a mentor Haymitch, was a harder sell. “Listen, I’m nuts,” he explains. “It was just a stupid thing where I hadn’t read the books yet. I didn’t see that there was enough for me to do in the script. But then Gary called me back and said ‘You got to do this, I don’t have a second choice for the role.’ And of course flattery always gets the best of me so I read the books and really saw the depths of this guy. Holy s—, I would have been bummed to miss this.” For more on The Hunger Games, including what you won’t see in the movie and how Jennifer Lawrence is enjoying her last few days of anonymity, pick up the new issue of Entertainment Weekly, on stands Friday, March 2.

The Hunger Games Covers EW

“Is it violent?” says director Gary Ross of his PG-13 film. “Yes. Do we back off from what it is? No, we don’t.”

The March 23 release of The Hunger Games is nearly upon us. While we can’t make clock turn any faster, we can offer fans of Suzanne Collins’ best-selling dystopian trilogy (and newcomers, too) a deep, behind-the-scenes look into the making of the film, from conception to casting, filming to marketing.

Perhaps no bit of casting news was met with greater surprise than Lenny Kravitz taking on the role of Cinna, hero Katniss Everdeen’s deeply cool and compassionate stylist. Kravitz was working on his album, living out of a trailer in the Bahamas and oblivious to the Hunger Games phenomenon, when Ross first approached him to offer him the part. The director had been moved by the musician’s gentle grace in Precious and was further intrigued by the fact that Kravitz already felt a nurturing bond with star Jennifer Lawrence, who had become close friends with his daughter Zoe during the filming of X-Men. “I love that girl,” says Kravitz. “The minute I met her she became a part of the family.”

It took one sleepless night of reading a downloaded version of The Hunger Games in his trailer for Kravitz to commit. But Woody Harrelson, who initially turned down the role of Katniss and Peeta’s sodden wreck of a mentor Haymitch, was a harder sell. “Listen, I’m nuts,” he explains. “It was just a stupid thing where I hadn’t read the books yet. I didn’t see that there was enough for me to do in the script. But then Gary called me back and said ‘You got to do this, I don’t have a second choice for the role.’ And of course flattery always gets the best of me so I read the books and really saw the depths of this guy. Holy s—, I would have been bummed to miss this.”

For more on The Hunger Games, including what you won’t see in the movie and how Jennifer Lawrence is enjoying her last few days of anonymity, pick up the new issue of Entertainment Weekly, on stands Friday, March 2.

cuatroquesos: When FilmInk asks the affable and enjoyably candid Ross if he’s feeling any pressure on the eve of the release of The Hunger Games, the director lets out a sly laugh. “Do you know what pressure is? Pressure is when nobody has heard of you,” he smiles broadly, “and you’ve put a year of your life into a film and you’re really hoping that it will resonate with people. Pressure was spending three years on Pleasantville and hoping that this original thing that I had done was going to find an audience or be remembered. So this is actually very nice. We’ve been very faithful to the book, but the film gives you a very rich cinematic experience that honours what the book is.” … Was she precious at all? “No, shockingly not,” Ross laughs. “I would sometimes be careful, and she’d go, ‘Gary, this is the film adaptation. Some things work and some things don’t.’ Suzanne had been a television writer, so she understood how some things worked better cinematically. While we were shooting, I added two scenes involving Donald Sutherland’s President Snow that weren’t in the book, and she loved those scenes. There was a part of her that I actually think was more turned on by the additions and the changes because they were fresh and exciting for her. It was a really great collaboration. There was nothing difficult in it.” Suzanne Collins’ books have a far grittier and more violent edge than those of her fellow literary colleagues, J.K. Rowling and Stephenie Meyer, despite being pitched at a young audience. “I read about the Roman circus,” Ross says of his preparation for the film. “It lasted for 900 years, and by the end of it, they were slaughtering hundreds of people a day, along with elephants and hippopotami. The spectacle of blood grew more and more lurid as society got more and more decadent. To Suzanne Collins, that’s what The Hunger Games really were – cler to Roman spectacle than anything else.”

cuatroquesos:

When FilmInk asks the affable and enjoyably candid Ross if he’s feeling any pressure on the eve of the release of The Hunger Games, the director lets out a sly laugh. “Do you know what pressure is? Pressure is when nobody has heard of you,” he smiles broadly, “and you’ve put a year of your life into a film and you’re really hoping that it will resonate with people. Pressure was spending three years on Pleasantville and hoping that this original thing that I had done was going to find an audience or be remembered. So this is actually very nice. We’ve been very faithful to the book, but the film gives you a very rich cinematic experience that honours what the book is.” …

Was she precious at all? “No, shockingly not,” Ross laughs. “I would sometimes be careful, and she’d go, ‘Gary, this is the film adaptation. Some things work and some things don’t.’ Suzanne had been a television writer, so she understood how some things worked better cinematically. While we were shooting, I added two scenes involving Donald Sutherland’s President Snow that weren’t in the book, and she loved those scenes. There was a part of her that I actually think was more turned on by the additions and the changes because they were fresh and exciting for her. It was a really great collaboration. There was nothing difficult in it.”

Suzanne Collins’ books have a far grittier and more violent edge than those of her fellow literary colleagues, J.K. Rowling and Stephenie Meyer, despite being pitched at a young audience. “I read about the Roman circus,” Ross says of his preparation for the film. “It lasted for 900 years, and by the end of it, they were slaughtering hundreds of people a day, along with elephants and hippopotami. The spectacle of blood grew more and more lurid as society got more and more decadent. To Suzanne Collins, that’s what The Hunger Games really were – cler to Roman spectacle than anything else.”