Happiness is when there is no hunger or want at all, when we're completely free of all hunger, desire, and want.
The great forces of history were real, after a fashion. But when you examined them closely, those great forces always came down to the dreams and hungers and judgments of individuals.
When you get fat and lose your hunger. That is when you know the sellout has happened.
It is a conviction that war is not an answer to human conflict any more than cannibalism is an answer to human hunger.
There is a young fella who works for me, named Brian Unkeless, who's very smart. We're a very small company that has been Brian and me and two assistants, although we're growing a little bit now. He read the [The Hunger Games] book and loved it, and told me I should read it. He had been a fan of the Gregor books. So, I read it and couldn't put it down and couldn't stop thinking about it. I really became obsessed with the thought of producing it, and was completely bothered by the idea that anybody but me could produce it.
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.
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.
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.
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.
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.
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.
Being able to just stick to our instincts and honor the [Hunger Games] books and find a way to stay the course of trying to make the best possible decisions that you would make creatively on any movie, without having your head turned too much by all of the interest, has been a great challenge. It's the best challenge you could ask for, but that was a big challenge.
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.
We both [with Suzanne Collins ] felt strongly that you wouldn't want to age up the characters, no matter the age of the actors playing the roles. They should be playing the age that they are in the [Hunger Games] books. It would let people off the hook, if you said, "Well, instead of 12 to 18, why don't you make them 18 to 25 or 16 to 21?" If you don't stay true to the horror of the fact that they are 12 to 18, you're not doing justice to the book.
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.
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.
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.
I was focused on The Hunger Games movie with my director, with the studio, and with the cast and crew. We all just focused on making the best possible movie we could, and earning the right to do more.
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.
Contentment is mostly a matter of talking yourself into believing that God will not strike you too hard for leaning in the direction of your hungers.
We need new words for what this is, this hunger entering our loneliness like birds, stunning our eyes into rays of hope. we need the flutter that can save us, something that will swirl across the face of what we have become and bring us grace.
... No photograph ever was good, yet, of anybody - hunger and thirst and utter wretchedness overtake the outlaw who invented it! It transforms into desperadoes the weakest of men; depicts sinless innocence upon the pictured faces of ruffians; gives the wise man the stupid leer of a fool, and the fool an expression of more than earthly wisdom.
You know what the problem is with world hunger? We've been sending them food.
Poverty feeds into the clean-water crisis, which contributes to hunger, and so on. There's undeniable interconnectivity among these issues. Just one of these problems can be deadly on its own, but in the most disadvantaged areas there is a perfect storm of problems. And it takes its greatest toll on children.
My family grew up relying on public assistance to help provide meals for our family. Child hunger in America is a real and often overlooked problem, but one that together, we can fix.
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