The Hunger Games: Official Illustrated Movie Companion

The Hunger Games: Official Illustrated Movie Companion

Language: English

Pages: 160

ISBN: 0545422906

Format: PDF / Kindle (mobi) / ePub

The New York Times bestseller by Suzanne Collins is now a major motion picture -- and this is your guide to all of the movie's excitement, both in front of the camera and behind it.

Go behind the scenes of the making of The Hunger Games with exclusive images and interviews. From the screenwriting process to the casting decisions to the elaborate sets and costumes to the actors' performances and directors' vision, this is the definitive companion to the breathtaking film.

The Island of Time

Peter and the Secret of Rundoon (Starcatchers)

The Saint Intervenes (Simon Templar 'The Saint', Book 13)

Ciò che conta è la bicicletta

Ferno The Fire Dragon (Beast Quest, Book 1)


















with the sword. . . .” Isabelle Fuhrman, who plays Clove, adds, “I will say I do know how to throw a knife properly now, which is kind of creepy and a skill that I probably won’t use, but it’s just fun to say, you know? ‘What’d you learn this summer?’ ‘Oh, I learned how to throw knives.’ Just casually.” To prepare for the fight sequences, the stunt coordinators looked to the actors themselves. “It’s not like we took any of the tributes and started training them in karate or kickboxing or

says, “Through the North Carolina Film Commission, we ended up finding an abandoned mill town. There were thirty-five almost identical factory homes for the workers — they lived on the premises, right where they worked — it was absolutely perfect.” It appealed to Gary Ross because, as he puts it, “It’s one thing to live in squalor, but it’s another thing to live in squalor without any individuality, where the houses are cookie-cutter and manufactured by the company, not the people.”

what we normally do when a director says, ‘I want this to go from Point A to Point B and hit it every time,’” he explains. “There’s a sixteen-inch cable right down the middle of the fireball, and we shoot it down a wire with what looks like a slingshot. The fireball itself was a steel apparatus — like a giant corkscrew — with a product wrapped on top of it that we could ignite and burn.” Any signs of the rigging would be erased in postproduction. Another special effects challenge was

done this many times,” and Collins adds, “He was a complete pleasure to work with. Amazingly talented, collaborative, and always respectful of the book.” Then, off the strength of this revised script, Lionsgate went to directors. There was no shortage of interested directors reading the script, people with great talent and experience. Once a director was chosen, Collins knew that person’s vision would be the guiding force behind the project. Color Force and Lionsgate interviewed potential

good to do something you love for a living and then, at the same time, get in the best shape you’ve ever been in. That’s just nice.” Meanwhile, stunt coordinators Allan Poppleton and Chad Stahelski were preparing to teach the tributes the fight skills their characters would need to know for the scenes in the Training Center and in the arena. They’d had about eight weeks to put the sequences together, and were eager to see them in action. Jon Kilik notes, “Safety in a movie like this was a

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