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.
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.
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.
I'm very superstitious. I come from a family that's big on not painting the nursery until the baby is home.
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.
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.
When I became a producer, I told myself I will finally be able to bring my dog to work.
Dogs in the office are very important.
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.
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.
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.
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.
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.
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.
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.
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.
I know many filmmakers, and shooting in IMAX is challenging. Filmmakers love the vividness and power of those big images.
When I love a book, I really love a book. You don't get that very often.
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.
Getting movies developed doesn't do me any good as a producer. It only does me good to get movies made.
