Top 79 Quotes & Sayings by Nina Jacobson
Explore popular quotes and sayings by an American businesswoman Nina Jacobson.
Last updated on September 17, 2024.
Getting movies developed doesn't do me any good as a producer. It only does me good to get movies made.
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 don't understand why people still behave as though making movies with female protagonists is risky, given that - hello - we do make up over 50 percent of the population, and we go to movies.
Ultimately, only audiences decide what's a franchise.
I know many filmmakers, and shooting in IMAX is challenging. Filmmakers love the vividness and power of those big images.
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.
We always want to congratulate ourselves at having made more progress than we actually have.
Television is often out ahead on social issues. With film, we've only recently proved that one of the oldest misconceptions in the book is wrong, which is the idea that girls will see films with boys as protagonists, but boys won't see movies with girls as protagonists.
It's definitely a tough blow to your morale to get fired.
When doing family entertainment, you don't actually worry about kids. You know what you can't do. But in terms of sensibility and sophistication and wit and ambition, aim for your own taste level, and kids will - if they're interested in the subject matter - be glad that you did.
The majority of people are straight, and movies, with their bigger budgets and burdensome marketing costs, will try to appeal to as many people as they can. As the means of production and distribution become more democratized with advances in technology, more gay stories will make their way to the mainstream.
I am happy to keep working on books because I'm always reading, and I'm always trying to fall in love.
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.
There's as much great authorship in the filmmaker community as in the literary community, and I'd love to welcome more filmmakers into the fold.
I think a lot of what I loved being a studio executive was the variety and freedom. But now, as a producer, you're much more able to enjoy those two things. What I loved about it doesn't necessarily exist anymore.
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.
Anytime that someone defies the status quo and defies oppression, it feels like a step in the right direction.
The more women and people of color who find positions of influence, the more women and people of color who will find positions of influence. So we need critical mass, and we're still working toward that. I won't be satisfied until we're at the 50-50 place, where we ought to be.
The IMAX cameras are big and heavy. And they're loud. So you have to be mindful of whether or not they're worth it; I'd say the image quality is incredible and the scale is amazing.
Ultimately, I am very filmmaker oriented, as a producer.
When you're younger and you see something that really speaks to you, it's indelible in a way that's not the same as when you're an adult. So I'll always love reading books and making movies that resonate with young people.
I've been fortunate enough to match up the material I'm producing with the right buyer, the company that will make it and that wants it, and that isn't saying yes to be nice, but is saying yes because they want and need that movie and it's going to be important on their slate.
Sometimes I work in my office, just reading material, meeting writers, working on scripts. Other times, I'm on location. There's a lot of variety.
There are still so few female directors. There are far fewer writers than we'd like to see.
The way we like to think of ourselves is not the way we look. We like to think of ourselves as more evolved than we frequently are.
I'm very superstitious. I come from a family that's big on not painting the nursery until the baby is home.
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.
To me, a great story well told is a great story well told, and just because the protagonist is a young adult doesn't mean that story has less merit or worth than if the protagonist is a full-grown adult.
Dogs in the office are very important.
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.
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.
When I became a producer, I told myself I will finally be able to bring my dog to work.
I think that women are underrepresented behind the camera as directors.
When I love a book, I really love a book. You don't get that very often.
Our young people live in a world in which there's violence wherever you turn.
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.
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.
I've never adapted a book I didn't love.
The reality is that diversity as an overall subject has to continue to be addressed onscreen. That goes beyond having a gay superhero. There should be a black superhero, a Latino superhero and, while we're at it, we still aren't seeing nearly enough women behind the scenes and as the anchors of movies.
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.
When you read a book [The Hunger Games], 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. In the book, it's great when she can push a button and food comes up, as per your order.
As a producer, you can't break up w/your own project. It's like sleeping with someone that you don't like... Forever.
Deb Zane, our casting director on the Hunger Games was very sanguine, from the beginning, about just blocking out what everybody else says that they want.
Suzanna Collins was very supportive, but we very much wanted her blessing on casting. In production, she visited us once, but she really was not involved in the production process. She's seen the Hunger Games movie twice, in the post-production process, once as an early cut and then once when it was finished.
In the evolution of the [The Hunger Games] movie, Gary [Ross] and I talked a lot about tonal bandwidth and making sure that the look and feel and style and choices of the movie stayed within a certain consistent bandwidth.
[On The Hunger Games success]: "It hit on the zeitgeist of the disparity b/w the haves and have nots.
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.
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.
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.
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 never had to put myself in somebody else's shoes.
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.
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.
[On the racial backlash about Hunger Games casting]: "People should have ignored the five racist idiots.
I'm an ardent fan. All I really had to do was put myself in my own shoes.
You're not doing the scene exactly the way it is in the book [The Hunger Games], but the intention of the scene is there.
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.
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.
It's an exciting time, when you can make your movie on a cellphone. If it's good, it WILL get noticed.
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 buyers mentality.
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