Wednesday, April 25, 2012

Lionsgate Splitting Marketing Groups; Tim Palen and Nancy Kirkpatrick to Stay | THR

Fear not, Hunger Games fans! When the Summit/Lionsgate merger was announced, we wondered who would be heading Lionsgate's marketing. Since The Hunger Games had a very successful and innovative marketing campaign, we were hoping they'd keep Tim Palen so that we can expect more awesome marketing for the future Hunger Games movies. Looks like they've reached a compromise!
Lionsgate marketing head Tim Palen and Summit marketing chief Nancy Kirkpatrick are both staying with the company, The Hollywood Reporter has learned. 
The Hunger Games studio has closed a new long-term deal with Palen, who will now run marketing for the Lionsgate-branded film slate. Kirkpatrick will head up marketing for Summit-branded films, including the final installment of the Twilight franchise, set for release in late November.

There had been widespread speculation in Hollywood that one of the marketing execs would depart Lionsgate in the wake of the company's merger with Summit this year. As part of that deal, Summit'sRob Friedman and Patrick Wachsberger took control of the film studio, potentially giving Summit's Kirkpatrick the inside track. But Palen is considered a talented marketing executive, responsible for the campaign for Lionsgate's current blockbuster Hunger Games. The studio now has worked out a compromise that seems to have satisfied both executives in the short term while planting the seeds of a long-term plan. 
Combining the two studios has resulted in a large number of films on the upcoming release slate, so splitting the duties and allowing each executive to run his and her own slate makes sense. However, once the merged Lionsgate trims its film slate to about 14 films a year, as it has said it plans to do, two marketing heads probably won't make sense. 
At that point, locking Palen into a long-term deal probably gives him the pole position to remain with the company.

UPDATE: Lionsgate is confirming the news with a press release announcing Palin's new long-term deal. 
"Tim is a gifted marketing executive who has been a driving force in the success of our motion picture business over the years, and he elevated his game to a new level with a groundbreaking marketing campaign for The Hunger Games," said Lionsgate CEO Jon Feltheimer and vice chairman Michael Burns in a statement. "His marketing campaigns integrate digital and traditional resources in innovative and cost-effective ways that reflect Lionsgate's entrepreneurial culture at its best." 
"One of the great benefits of Summit’s recent merger with Lionsgate is the opportunity to be in business with a marketing executive as talented as Tim,” said Friedman and Wachsberger said in a statement. “As we roll out a combined slate capable of generating more than a billion dollars at the North American box office, we are fortunate to have two extremely talented marketing executives to guide both the Lionsgate and Summit brands going forward.”
We're glad that Tim Palen's work on The Hunger Games hasn't gone unnoticed. We love the marketing done for The Hunger Games and we can't wait to see what's in store for Catching Fire and Mockingjay!

Source: The Hollywood Reporter

Tuesday, April 24, 2012

Interview with Hunger Games Soundtrack Producer Greg Wells

PopMatters sat down with Greg Wells to talk about what it was like producing the companion soundtrack to The Hunger Games, Songs From District 12 and Beyond. He goes into the process of creating the Kid Cudi song on the soundtrack, "The Ruler and the Killer".

“Then Cudi would leave the room for about five or ten minutes and come back in and say ‘I think I got verse one! Let me just hold the mic and I’ll do it right here in the control room.’ So he did it right in front of us. One take. Everything was one take. He never re-did anything. And I thought he would, but he’d just say ‘OK, that was it.’ Like Frank Sinatra never did overdubs, it was a bit like that! [laughs] And I loved it! I’m not used to working with people like that. You know, everyone wants to hone it a bit, and he was just like ‘This is what it is.’

“I played some bass on it, and T-Bone played this kind of very vibey little acoustic guitar pass, he did the same kind of beat, he just jammed on acoustic guitar over this track. And pretty much everything he played in the first take was just this great little, fantastically weird little notes. They’re quite featured in the final mix I did on the track. And then I did a mix of that, we listened to it and lived with it. Cudi came in to tune up the guitars a bit ... and we had it. It was quick.

“I love how kind of quirky the thing is, and none of us knew we were gonna write a song that sounded anything like that! It’s a weird little menacing song. And Cudi just really tried to dial in the Donald Sutherland character in the movie. It’s very oppressive and messed up—evil. That’s the perspective of the singer in that song, and I like how creepy we got it.”

His success with the song was interesting, considering that he didn’t have any prior experience withThe Hunger Games. “I usually have a couple of projects going on at the same time, and between that and having three kids, I’m just so busy I don’t take in a lot of new stuff that doesn’t get put right in front of me,” Wells says. “So, I was somehow unaware of the massive phenomenon that is that book series. But I got played a very long trailer that I don’t think was ever released, a ten-minute trailer that was put together and really gave me a huge feel for what the movie is, and the arc of the whole story—and I was so sucked in. It was an incredible little vignette from that movie, and I was pretty much just like, ‘OK, I’m in! This is amazing. There’s nothing like it.’”

The soundtrack itself stands as one of the great film soundtracks of recent years. It, like Burnett’s soundtrack for the Coen Brothers’ film, O Brother, Where Art Thou?, and every soundtrack for every Quentin Tarantino film ever created, is a narrative in its own right, allowing the listener to know and live in the world of the film long after the screen goes dark. The album boasts talent like Taylor Swift and Kid Cudi, as well as The Decemberists, Arcade Fire, and Neko Case, among others, creating a rich tapestry true to the dystopian, Appalachian core of both the film and the books.
Check out the entire article here.

Monday, April 23, 2012

New TV Spot: Movie Sensation

Check out the latest TV Spot, advertising the return of The Hunger Games to IMAX theaters:

We're still running our contest to win 2 tickets to see The Hunger Games in IMAX. Just RT this tweet and make sure you're following our Twitter!

Friday, April 20, 2012

THG Returns to IMAX Theatres April 27!

Check out the press release!!


Limited One-Week Engagement Begins April 27

Los Angeles, CA – April 20, 2012 – IMAX Corporation (NYSE:IMAX; TSX:IMX) and Lionsgate (NYSE: LGF) today announced that due to overwhelming demand, The Hunger Games will return to more than 100 IMAX® digital theatres across North America on April 27. The film will play for a one-week special return engagement through May 3. 

The Hunger Games has grossed over $533 million globally since its launch on March 23, including $13.2 million generated from IMAX theatres in its original one week run.

“It’s wonderful that so many fans have expressed interest in seeing The Hunger Games in the immersive IMAX format, and many of these are repeat viewers,” said Lionsgate’s Motion Picture Group Co-Chair Rob Friedman, adding “ We're delighted that IMAX has been able to accommodate them through this special one week re-engagement.”

“The Hunger Games has become a cultural phenomenon and we are thrilled to provide moviegoers with another opportunity to see this year’s most successful film in IMAX,” said Greg Foster, Chairman and President of IMAX Filmed Entertainment. 

The IMAX release of The Hunger Games has been digitally re-mastered into the image and sound quality of The IMAX Experience® with proprietary IMAX DMR® (Digital Re-mastering) technology. The crystal-clear images coupled with IMAX's customized theatre geometry and powerful digital audio create a unique environment that will make audiences feel as if they are in the movie.

Tickets can be purchased by visiting

You can also enter to win tickets to an IMAX showing! Follow our Twitter and retweet this:

Woohoo ! Follow and RT this to enter to win 2 Hunger Games IMAX tickets! May the odds be ever in your favor!

Thursday, April 19, 2012

Sources Say...It's Francis Lawrence!

Could it be? THR is reporting that Lawrence got the offer today, and if he accepts will direct "Catching Fire".  But of course, nothing is official!

Sources say Lawrence will receive an official offer Thursday afternoon. If he accepts and a deal can be worked out, he will replace Gary Ross, who directed the hugely successful first installment of the franchise.
The hunt has been fast and furious, with the field narrowing down to Lawrence, director of I Am Legend and Water for Elephants, and Bennett Miller, who helmed the Oscar-nominated Brad Pitt baseball movie Moneyball. Both directors met with the studio Thursday, according to sources, and Lionsgate executives have made their pick.

Read the full THR article

If this is true, we're very excited to see what Francis Lawrence will do with Catching Fire, and we are even more glad that he has experience when it comes to big special effects and big budgets.

Wednesday, April 18, 2012

Rumor: Catching Fire Director will be either Lawrence or Miller

Rumor is, as reported by LA Times' 24 Frames, that the Catching Fire director job will go to either Miller or Lawrence and we'll find out by the end of the week.
The hunt for the new director on "Hunger Games" sequel "Catching Fire" is reaching its conclusion, with Lionsgate expected to offer the job to either Francis Lawrence ("Water for Elephants"; "I Am Legend") or Bennett Miller ("Moneyball"; "Capote") by the end of the week, according to knowledgeable sources not authorized to speak publicly. 
The studio has narrowed in on the two directors after considering a broader group that also included Tomas Alfredson ("Tinker Tailor Soldier Spy"), Tony Scott ("Unstoppable"), and Stephen Daldry ("Extremely Loud and Incredibly Close"). 
Lawrence (no relation to "Hunger Games" star Jennifer Lawrence) may be the easier option because his schedule is open. One source said he has met with top executives at the studio and appears eager to take on the job. 
Miller, meanwhile, would have to delay his plans to direct the movie "Foxcatcher" about John du Pont, the heir to the famous family's fortune who shot and killed an Olympic gold-medal-winning wrestler. The film, which recently added Mark Ruffalo to a cast that already includes Steve Carell and Channing Tatum, is supposed to start filming late this year.
The Austrian-born Lawrence got his start helming music videos for Britney Spears, Jennifer Lopez and Green Day. While last year's  "Water for Elephants" starring Reese Witherspoon did only modest business, he had great success with the 2007 "I Am Legend" with Will Smith. He's also quite proficient in special effects and knows his way around large film sets, two attributes crucial for directing the action-heavy "Catching Fire." 
Miller has never directed a big-budget movie with special effects but was widely praised for his work on  "Moneyball" and "Capote" and was nominated for an Oscar for the latter picture. 
With production set to begin in August, whoever takes the position that Gary Ross abandoned last week will be working furiously with screenwriter Simon Beaufoy ("Slumdog Millionaire") and producers Nina Jacobson and John Kilik to get the production ready in the next few months. The movie is scheduled to hit theaters in November 2013. 

Crushable: Drinking with Octavia

Super cool blog post by Anna Breslaw of Crushable in which she interviews Brooke Bundy, known as Octavia in The Hunger Games.

The two have known each other prior to The Hunger Games' fame, and they chat about funny stories, filming, and her very sensible ideas on handling The Hunger Games success. Here are some highlights:

A mutual friend of ours from college once asked us what skills would keep us alive in a dystopian world–a question, incidentally, unrelated to California native Brooke’s big break in the movie–and her first answer was “brute strength.” (Mine was “running fast.”) She does tend to stomp into places like a very pretty, large-faced in the best way, bull in a china shop. She rushed breathlessly up to me in the sports bar we were meeting as if she was late, which she was not, and gave me a huge hug. She had taken the subway from Red Hook, where she had just interviewed for a restaurant job.
“Those interviews are hard. It’s hard to be like–” She puts on crazy-solemn eyes. “Yes. I take this very seriously.’”
It seems incongruous that an actress in the top-grossing movie in the country for four weeks straight, someone who can make an informed personal judgment of Lenny Kravitz as a human being (verdict: “The coolest person of all the big famous people”) would be running around Brooklyn trying to get a waitressing gig. Less than a month ago, she was walking the red carpet at The Hunger Games’ Los Angeles premiere alongside a star-studded cast that included Jennifer Lawrence, Woody Harrelson, Kravitz, Josh Hutcherson and Elizabeth Banks. Last week The New York Daily News ran an article about Brooke that commented on this duality, with quotes from a Ditmas Park family whose kids she watches. The kids, understandably, are psyched: “Our babysitter is in The Hunger Games!”
“It’s weird. I mean, you aren’t immune from awareness about status, but you can’t let that get to you. Especially me, I mean, I have such minimal exposure. I’m not famous.”

She also found the vibe of working on a big-budget movie surprisingly familiar. “I expected it to feel more controlled. People think it’s a shiny adventure [to make movies], but it’s so messy. No matter how much money’s involved, it’s just people fighting to get things done in time, just like it is in little indie stuff.”

Read the full blog post HERE!

Tuesday, April 17, 2012

Two More Catching Fire Hopefuls!

The quest for a Catching Fire director continues! Add these names to the list: Bennett Miller and Francis Lawrence.

Playlist reports, "Sources close to the project tell The Playlist that "Moneyball" helmer Bennet Miller and "I Am Legend" director Francis Lawrence are also in contention for the gig."

Some may know Miller from Moneyball and Capote, and Lawrence is known most for I Am Legend and Water For Elephants.

Read the full article HERE

Thursday, April 12, 2012

Josh Hutcherson Introduces The Hunger Games Adventures

We got new chapters today for The Hunger Games Adventures and it turns out a video from Josh too!

Have you been playing lately? Looks like we'll be going to the Capitol!
In the latest chapter, the adventures continue as players make a heroic escape from the confines of District 12 and arrive in the splendor and excess of the Capitol. Upon arrival they are greeted by Effie Trinket, who will act as their guide to the Capitol. Through their exploration, they will encounter other familiar characters such as everyone's favorite stylist – Cinna. 
Join Effie and Cinna in the Capitol today by going to
And check out these screenshots:

Source: via DWTC

Wednesday, April 11, 2012

Conflict With Fox May Have Cost Us Gary Ross

The Hollywood Reporter is reporting that scheduling conflicts with Fox regarding X-Men is what caused Gary Ross' decision not to return for Catching Fire.
When writer-director Gary Ross announced his decision to drop out of the next installment in The Hunger Games saga, he stated his reasons succinctly:  
"As a writer and a director, I simply don't have the time I need to write and prep the movie I would have wanted to make because of the fixed and tight production schedule," he said Tuesday. 
Ross did not allude to Fox, which had imposed that schedule by putting a January start date on its X-Men: First Class sequel with an ensemble role for star Hunger Games Jennifer Lawrence. And Ross did not express his misgivings about the particular challenges he perceives in framing and executing a film version of Catching Fire, the second book in Suzanne Collins' young-adult series.

Fox's January date led the bond company on Catching Fire to insist that Lionsgate commit to finish filming by Dec. 20, backing the studio into a production schedule with an August start date that Ross felt he could not accommodate. (Fox's deal with Lawrence predates her contract for Hunger Games, putting X-Men in a priority position.) 
According to knowledgeable sources, Lionsgate Motion Picture Group co-chair Rob Friedman pressed Fox to set a later start date for the X-Men movie, even offering allurements including a chance to handle some of the overseas distribution on Catching Fire. 
Fox was willing to move back its start date a few weeks and is still in conversations with Lionsgate on that issue. But the additional time would not have been enough to allay Ross's concerns. And Fox might have been inclined to cooperate only up to a point: When X-Men: First Class was released in June, the studio very much wanted Lawrence to attend the premiere. But the actress was starting The Hunger Games then and Lionsgate did not make her available, apparently causing severe friction with Fox. Friedman, who was not at Lionsgate then and has a good relationship with Fox's Tom Rothman, has been negotiating to win a little more time. Lionsgate is now said to be confident that it can complete shooting in the time allotted.

Some sources are skeptical that Fox actually will start filming the X-Men movie -- which still lacks a finished script -- in January. Its deal with Lawrence allows the studio to start within six months, so filming could begin as late as June. But given the possibility of an earlier start, the bond company on Catching Fire required a commitment that the film would be finished shooting in December. 
Ross, who has earned screenplay Oscar nominations for Big, Dave and Seabiscuit, felt that he had to focus on the script for at least two months, leaving him only six to eight weeks to prepare for shooting. Sources also say he feels the second novel is the most challenging in the trilogy to make into a compelling film. Collins, who shares writing credit on The Hunger Games with Ross and Billy Ray, is said to want a screen version that is very faithful to her book. 
Although the key actors are locked into Catching Fire, Lionsgate didn’t kick off a negotiation with Ross for the sequel until about three weeks before Hunger Games opened March 23.

It is unclear who might replace Ross and make the sequel in the time allotted, though no doubt many directors will be interested. And Friedman has shown in the past that he is willing to make changes. When he ran Summit Entertainment, the company memorably did not invite Catherine Hardwicke back to direct the second Twilight movie, New Moon.

Fox and Lionsgate declined to comment for this report.
Even though there haven't been official statements made about this from any of the parties, this sounds very plausible, especially coming from THR. All I'm saying is that I will be pissed if X-Men starts filming much later than January.

Our Director Picks for Catching Fire

In case you haven't heard, there was some heart breaking news yesterday: Gary Ross will not be returning to Catching Fire. This obviously leads us to wonder what brave individual will be the next one to rise to the challenge of not only living up to the high bar set by Ross, but to do so with an extremely limited preproduction schedule. Keep also in mind, said director must have the time to do it (many directors already have other commitments) and MUST have the passion and a clear understanding of what the books are about. Oh, and I suppose it would be a good thing that they conform to Ross' original vision for sake of consistency.

Here are our picks for directors we would want the most, a mix of pie in sky dreams and viable candidates!

1. Christopher Nolan
Okay, my pie in the sky dreams. Director of some of my favorite films such as Inception and The Prestige, he could do wonders with the multiple storylines occuring in Catching Fire. Most likely he is far too busy with post production for Dark Knight Rises and working on Man of Steel. The same goes for Peter Jackson and Ridley Scott. A girl can dream, can't she?

2. Steven Soderbergh
Most known for the Ocean's movies, definitely a solid choice for Catching Fire. I just loved how he handled the District 11 riot scene in The Hunger Games. Most likely a large pricetag, I would trust him to handle Catching Fire.

3.The Coen Brothers
Joel and Ethan Coen have directed some of the coolest films of our time! They're responsible for films such as O Brother Where Art Thou and the legend, The Big Lebowski. Not sure how their schedule is, but might give Catching Fire a nice edginess.

4. Ron Howard
Ron Howard's the man! Do I need to explain all the great work he's done over the years? He seems to have a great handle on multiple genres, and would do great with working with younger actors. We say, "Yes, please!"

5. Kathryn Bigelow
Here's an interesting choice that's being thrown around. She directed Best Picture winner The Hurt Locker and the new film about Navy Seal Team 6. Granted she's got a great handling on war, but interestingly enough she's a big painter. I wonder if any of that would come into play with Peeta's storyline in Catching Fire?

Well Lionsgate, it looks like you've got a tough job ahead of you! I wish you guys the best of luck, and we hope that you will keep consistency with The Hunger Games in mind, and may the odds be ever in your favor.

Tuesday, April 10, 2012

Gary Ross Won't Direct Catching Fire

From Deadline:
Lionsgate executives and reps around Gary Ross for weeks have expressed confidence that The Hunger Games director would helm the second installment of the book trilogy, Catching Fire. They expected the deal to go down right after Easter weekend. And they even went so far as to privately deny an Internet report that Ross had told the studio at the start of last week that he would not helm the sequel because he didn’t want to repeat himself. Instead, as a Lionsgate exec now tells me, “I am in shock.” I understand the negotiations were handled by Lionsgate toppers Jon Feltheimer, Michael Burns, and movie chief Rob Friedman, newly arrived from Summit. There, that studio also changed up directors after its massive hit Twilight debuted — and the franchise not only wasn’t hurt but thrived at the box office. So let the speculation begin about Ross’s replacemen
Gary Ross released a statement about not returning to direct Catching Fire:
Despite recent speculation in the media, and after difficult but sincere consideration, I have decided not to direct Catching Fire. As a writer and a director, I simply don’t have the time I need to write and prep the movie I would have wanted to make because of the fixed and tight production schedule.

I loved making The Hunger Games – it was the happiest experience of my professional life. Lionsgate was supportive of me in a manner that few directors ever experience in a franchise: they empowered me to make the film I wanted to make and backed the movie in a way that requires no explanation beyond the remarkable results. And contrary to what has been reported, negotiations with Lionsgate have not been problematic. They have also been very understanding of me through this difficult decision.

I also cannot say enough about the people I worked with: Producer Nina Jacobson, a great collaborator and a true friend; the brilliant Suzanne Collins, who entrusted us with her most amazing and important story; the gifted and remarkable Jennifer Lawrence whose performance exceeded my wildest expectations, and the rest of the incredible cast, whom I am proud to call my friends.

To the fans I want to say thank you for your support your faith, your enthusiasm and your trust. Hard as this may be to understand I am trying to keep that trust with you. Thank you all. It’s been a wonderful experience.
Lionsgate's statement:
We’re very sorry that Gary Ross has chosen not to direct Catching Fire. We were really looking forward to making the movie with him. He did an incredible job on the first film and we are grateful for his work. This will not be the end of our relationship, as we consider Ross to be part of the Lionsgate family and look forward to working with him in the future.


Monday, April 9, 2012

We Get Ridiculous for GARY ROSS IS BOSS

So, you guys have heard of the Gary Ross is Boss fan movement, right? Well, we wanted to get our video in ASAP, and since we are incapable of being normal we shot the weirdest video to date. I think we get the point across that Gary Ross, indeed is boss.

Katniss Is Now A Barbie!

Available for preorder today for $29.95, the Katniss Barbie doll will be released in August. She's dressed in her arena outfit, complete with bow and arrows, a Mockingjay pin and her signature braid.

From EW:
“I chose to dress her in the outfit she wears during the games, since this is where all the non-stop action takes place and is instantly recognizable by fans,” says Greening of the Katniss Barbie. “Of course, she wears her mockingjay pin proudly on her lapel.” 
Designers at Mattel created Katniss’ look by going straight to the source and examining the actual costume that Jennifer Lawrence wore in The Hunger Games. “Hopefully Hunger Games fans can appreciate the attention to detail,” Greening says."The doll’s minimalistic style and details — such as her loosely braided hair and makeup-free look — also really embody the heroic character Katniss.” 
Of course, it took a true fan to create such a doll. “I am a huge Hunger Games fan and loved all three books, so it was truly an amazing experience for me to be able to design the Katniss Barbie doll,” Greening says. “I think it really pays tribute to Katniss and The Hunger Games.”
 Source: Entertainment Weekly, Barbie Collector

Update on the Gary Ross situation...

Jennifer Lawrence & Gary Ross

Contrary to previous media reports, Ross -- who returned from a vacation in Italy on Friday -- has not exited the booming franchise. But he is not yet signed to return for the second installment, Catching Fire, and sources say the filmmaker is concerned about an ambitious production schedule that would require shooting to begin in August so that star Jennifer Lawrence can complete her work before she is due to start filming a sequel to Fox's X-Men: First Class in January.
The Hollywood Reporter said last week that Fox has informed studios and talent agencies of its planned start date for the Matthew Vaughn-directed X-Men movie. Since Fox's deal with Lawrence predates her contract for Hunger Games, X-Men is in a priority position. With the script for the second Hunger Games not yet locked, that means all preparations for a sequel would have to be done in four months -- a tough schedule to meet.

Sources describe the negotiations between Ross and Lionsgate as delicate. In addition to his concerns about the schedule, THR reported Wednesday that the filmmaker would like a raise from the $3 million (and 5 percent of backend) that he received for the first film, which has passed $450 million in worldwide box office and received an 85 percent "fresh" rating from critics on Ross, an accomplished screenwriter and director (Pleasantville, Seabiscuit) has several other projects in development and could choose to pursue any of them.
One option for Lionsgate is that it could attempt to "buy" more time for Ross, essentially paying Fox (or horsetrading in other ways) to bump its production schedule to accommodate the Hunger Games shoot. Or Lionsgate could move on and hire another filmmaker to take on the sequel, much like Twilight studio Summit Entertainment dropped Catherine Hardwicke in favor of Chris Weitz for the second installment of that franchise.
Either way, the next week or so should bring some clarity to the future of Hollywood's hottest movie franchises.
Source: THR

Gary Ross is Boss!!

Friday, April 6, 2012

New TV spot: Safe & Sound Review

A new TV spot has been uploaded onto Capitol TV, this one being a minute long and to Safe & Sound.

Let's Have Our Voices Heard! We want Gary Ross!

By now we’ve all heard the news that Gary Ross may not be returning for Catching Fire. It’s sad news that has sent shockwaves across the Hunger Games fan community- partially because Gary has always presented himself as one of us, as a fan. Having a fan in charge of the film meant that the source material was always going to be respected, that the messages of the book would be honored, that our series would be more than just an adaptation-- it would be an experience akin to reading the books.

Keeping Gary at the helm for all films in the franchise also means continuity, both in style and theme. It means that we get one complete journey (like in Lord of the Rings) instead of a fragmented mosaic (like in Harry Potter). If any story deserves to be told as one complete journey, it is The Hunger Games.

We want Gary Ross back, and we know you do, too; and, fortunately, with nothing confirmed officially, we may still have time to make a difference in this decision. Fans, especially passionate fans, have made great things happen before. They’ve saved TV shows from cancellation. They’ve brought TV shows back from cancellation. They’ve pushed cancelled TV shows to be extended into feature length films.

Fans have power.

So, today, Tributes, if you want to see Gary Ross in the director’s chair for Catching Fire, we ask that you make your voice heard and sign our video petition. Here’s how it works:

1.) Create a 2-3 minute youtube video asking for Gary Ross to come back for Catching Fire. Be creative! Be impassioned! But, most of all, be courteous-- we know you might have a lot of FEELINGS, but remember to be polite.

  • At the end of the video, please thank Gary for his work with the film and give him the three finger salute.
  • If you get stuck and aren’t sure what to say, here’s a prompt you can follow:

Hi, my name is ________, and I am a fan of The Hunger Games. It means a lot to me and to other fans of the series to have someone directing Catching Fire who is not only successful and talented, but who also loves the series as much as I do.

I believe that person is Gary Ross.

From his devotion to casting the perfect Katniss to his vision of Panem to his dedication to ensuring that the film respects the socially conscious messages of the books, Gary Ross has proven time and time again that he loves this series as much as I do. I want to see his vision continue throughout the rest of the franchise. I want to see who his Finnick is, what his Quarter Quell Arena looks like, how he’ll plant the seeds of revolution in Panem.

I am asking that Gary Ross come back for Catching Fire. As a fan of the books who was sold on the movies because of his commitment, I need him to return.

Thank you to Gary Ross for all of his incredible work.

And thank you for your consideration.

2. Upload your video to YouTube -- make sure to do the following:
  • Title your video “Gary Ross Is Boss - [Your Name Here]”
  • Tag your video with the following: GaryRossIsBoss
*All submissions will be collected and featured on

3. Spread the world. Link to this post or to the YouTube page. Share it on Facebook. Tweet it. Tumble it. Get your friends to do it!

4.  If you don’t feel comfortable posting a video, send a picture of yourself doing the three finger salute and holding a sign that says Gary Ross Is Boss with the link ( to’ll compile all the pictures into a youtube video.
So that’s it! Record your videos/submit your pictures, and let’s make sure that the voice of the fans is heard!  And, don’t forget:
“Make sure they remember you.”

Thanks to Shylah Addante from Down with the Capitol for putting this all together so quickly, efficiently and thoughtfully!

Wednesday, April 4, 2012

Gary Ross in Tough Negotiations for Catching Fire

Yikes! This news makes us a tad nervous, as Gary Ross is responsible for The Hunger Games being such a success. If Harry Potter is taught us anything, it's that multiple directors for a franchise does not work very well for consistency. We hope Lionsgate realizes this and coughs up the cash to keep Gary on for Catching Fire and preferably, the rest of the movies too! Check out what The Hollywood Reporter had to say about the negotiations:

Now that The Hunger Games is a hit with more than $363 million in the till, the question is whether writer-director Gary Ross will return for the next installment in the lucrative Lionsgate franchise.
Unlike stars Jennifer Lawrence, Josh Hutcherson and Liam Hemsworth, Ross is not signed for a sequel. And negotiations for him to do the first movie were "a terrible experience," says a source with knowledge of the discussions, because Ross is a seasoned filmmaker (Pleasantville, Seabiscuit) and Lionsgate isn't accustomed to paying seasoned-filmmaker fees. He ended up taking a relatively low $3 million to write (with Billy Ray and novelist Suzanne Collins) and direct. But he will collect a very remunerative 5 percent of backend.

Sources say Ross, 55, would like a significant raise for a second Hunger Games, but Lionsgate didn't kick off negotiations with him until about three weeks before the first film's March 23 opening. By then, with tracking suggesting a huge opening weekend, Ross and his CAA reps were in no hurry to bargain.
Lionsgate has a script from Simon Beaufoy (Slumdog Millionaire) that Ross has yet to revise. The studio is in a rush to start the next film in the fall, though Fox might upset Lionsgate's plan by exercising its option on Lawrence to start another X-Men movie first. (Fox's option would trump Lionsgate's hold on Lawrence, say sources.) Adding urgency: Lionsgate already has booked a November 2013 release for Hunger Games: Catching Fire.

With other big literary properties, directors have been seen as fungible. Warner Bros. entrusted the first two Harry Potter films to Chris Columbus before employing a host of other filmmakers, and Summit memorably did not invite Catherine Hardwicke back to direct the second Twilight, despite the success of the first installment. (And Summit's Rob Friedman and Patrick Wachsberger now run Lionsgate's film division.)
But Ross will argue that his film was much better received than any in the Twilight series, with an A CinemaScore and an 85 percent "fresh" rating on Rotten Tomatoes in addition to huge worldwide box office. He'll contend that the movie will play longer and stronger in theaters and that he could direct his pick of other movies should Lionsgate refuse to pony up. (But to state the obvious, Hunger Games' bi-gender story line appeals to a wider audience than Twilight.)
It's always striking when a giant hit leads to anger and hurt feelings in Hollywood, but that seems to be the case here. Nonetheless, sources involved with the franchise are betting that Ross will return. "Ultimately, it will be difficult, and yet everybody will do the sane thing, which is to work it out," says one. "Everybody will end up unhappy in their own way. It's just the nature of the beast."
 Source: THR

We're BEGGING you, Lionsgate!! The fans want Gary Ross for the long haul!! Let this be more like Lord of the Rings where Peter Jackson helmed the duration of the films as opposed to the Twilight franchise!

Tuesday, April 3, 2012

Lionsgate Auctioning Signed Memorabilia for Charity

Hey big time spenders, check this out!!
LIONSGATE is auctioning off three final posters from THE HUNGER GAMES signed by Jennifer Lawrence, Liam Hemsworth, Josh Hutcherson, Lenny Kravitz, and Gary Ross benefiting The Elizabeth Glaser Pediatric AIDS Foundation . The winning bidders will receive the studio certified posters with a signed letter verifying their authenticity. Auctions begin today and will end April 6, 2012 . Please note that 100% of the proceeds, including $9.99 shipping costs goes to The Elizabeth Glaeser Pediatric Aids Foundation. Lionsgate is responsible for poster shipping.  
Included In This Package:
   HUNGER GAMES Final posters signed by Jennifer Lawrence, Liam Hemsworth, Josh Hutcherson, Lenny Kravitz, and Gary Ross.

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Check out more auctions under the cut!

Monday, April 2, 2012

MTV's 5 Lessons for Catching Fire

MTV offers some sound advice for Catching Fire now that The Hunger Games is out:
DO keep the arena underwraps   
This one isn't so much for Ross as it is for the Gamemakers at Lionsgate, but we have to recognize the studio's smart decision to use only pre-Games footage in their aggressive marketing campaign for the film. In fact, I'd go so far as to say my favorite parts of the movie were from the arena, largely because they were fresh and unexpected. With the Quarter Quell's intriguing new venue, Lionsgate would be wise to build anticipation by keeping the tropical death trap shrouded in mystery. 
DON'T skimp on the CGI 
If there was a consistent complaint I heard from "Hunger Games" fans following the film's release, it was that the Girl on Fire scene — in which Katniss and Peeta introduce themselves to the Capitol, riding atop a chariot and flaunting flame-licked jumpsuits representative of their coal-mining home — was ... underwhelming. The flame effect just didn't look real enough. With a slew of new sci-fi aspects introduced in "Catching Fire," including mutated monkeys, we hope Ross can invest a bit more in the film's digital technology. 
DO capitalize on Stanley Tucci 
Say what you will about Jennifer Lawrence's gripping, gritty performance as Katniss Everdeen, but if anyone could be categorized as the film's scene-stealer, it was most certainly Stanley Tucci, whose blue-haired, big-teethed Caesar Flickerman was nothing short of mesmerizing (and a handy exposition device to boot!). Heck, I'd pay to watch a Caesar Flickerman spin-off once all three (four?) "Hunger Games" films debut. "Caesar Flickerman: Not So Blue." Think about it, Lionsgate. 
DON'T downplay the dangers of the arena 
Between her 23 fellow tributes, tracker jackers and muttations, Katniss had plenty to contend with in the arena. But, as my roommate so astutely pointed out to me long after I watched the film and didn't notice, we never really see Katniss hungry or thirsty. Limiting the violence for a PG-13 rating is an understandable edit, but why dull down the deadliness of the Games otherwise? In "Catching Fire," we need to see Katniss and her fellow tributes truly struggle, not simply limp along.

DO make artful additions (especially if they're directed by Steven Soderbergh) 
By shifting the viewpoint of the film from Katniss' first-person perspective, Ross was able to open up the world of Panem in a way we hadn't experienced before. The addition of the control room, Seneca Crane's implied death by berries and, most notably, the District 11 riot only added to the film.

Gary Ross Answers NYTimes Reader Questions

Check out this article from the New York Times. Readers submitted questions to Gary Ross, and he chose a few to answer!
Gary, what was the biggest challenge that you encountered in the editing room? Also — just because I love my state — how did you like North Carolina? Would you be wanting to come back for future projects? — Savanah, North Carolina 
I think the biggest challenge was keeping the feeling of dread and tension alive in the first part of the film. It would have been easy for these “games” to feel like an abstract concept (the first part of the movie has no real IMMEDIATE threat to the tributes) and yet the characters are facing near certain death. The tone that was established in the reaping was essential in doing that. Steven Mirrione and I did quite a bit of restructuring in the first half to make sure the tension did not abate. As for your state, I LOVED it. And I miss Asheville very very much and I cant wait to go back. 
Given the tremendous pressure to make this movie a blockbuster, there must have been even more of a tension than usual between your artistic vision and the commercial one. How did you have to modify that artistic vision to arrive at the movie as released? — Ken N., San Francisco 
Actually, I felt the only way to make the film really successful was to be totally subjective (Suzanne wrote in the first person present). So I tried to put “commercial” considerations out of my mind. You can’t really make a movie by worrying about the marketplace and I always felt the only way to realize this story was to make it as personal as I could. I also felt this couldn’t feel or look like other “franchises” without sacrificing the naturalism the story needed. It helped being in the woods a long way from Hollywood. 
After watching the film, I felt you choose some specific spots for the pacing of the film. How did you decide on what you felt were important moments to emphasize and moments to move forward on? — Marcelo, Orlando, Fla.
Some of this is done in the screenplay and some of it is done editorially. After you’re finished shooting, the areas that the movie needs to accelerate or slow down become apparent. For instance we take a long time with the reaping, but the last third of the film is accelerated more than it was written in the screenplay. These things only become evident once the cut is complete. There are always surprises but that’s a good thing. It keeps you engaged in a process of invention even after you are done shooting. 
Was a lot of thought put into how far you could push the satirical element inherent in the story without undermining the emotional reality of Katniss’s journey? I was really impressed by the balance. — Adam L., Albany, N.Y. 
Yes, I think “tone” is the main challenge in adapting the novel to the screen. Some things that read fine on the page (especially in terms of the Capitol’s excess) might have broken the tension of the film if pushed too far. A novel (because it is left to the readers imagination) has more latitude tonally than a film does. I had to be careful that in depicting the excesses of the capitol it never felt too broad or as you say “satirical” on screen. It is a question of maintaining the tension and dread that the book did so well. 
How did your team develop the idea to create a NASA type control room for the arena? It is not in the book, but I think it was an important and clever addition to the movie. — Jalling, Groton, Mass. 
In the book, Katniss speculates about the game-makers manipulations while the games are going on. Of course, in the film, we can’t get inside Katniss’s head, but we do have the ability to cut away and actually show the machinations of the Capitol behind the scenes. I created the game center and also expanded the role of Seneca Crane for those reasons. I thought it was tonally important. So much of the film happens in the woods that it’s easy to forget this is a futuristic society, manipulating these events for the sake of an audience. The look of the control center, the antiseptic feeling of it and the use of holograms were all intended to make the arena feel “constructed” even when you weren’t seeing the control room. 
Can you talk about the use of CGI in the film as it relates to Katniss’s experience and human scale? I was struck by the grandeur of the Capitol in comparison with the intimate focus on Katniss in the woods outside 12 and in the arena. I have seen “zones” of a film differentiated by color or tint before (as in “Traffic” and “The Matrix,” for instance), but rarely as effectively by scale of surroundings. Was that a conscious choice or a natural result of telling the story from Katniss’ perspective? — Mike Z., Los Angeles
The contrast from District 12 to the Capitol is vital to establishing Katniss’s sense of alienation when she first arrives. And you are right—a lot of that is done with scale. The Capitol needed to feel authoritarian, imposing, overwhelming. Obviously we wanted Katniss to feel dwarfed by her surroundings. Phil Messina (the production designer) and I looked at a lot of reference from various periods of architecture that were meant to establish might and authority. In terms of the differences in hue, none of that is actually done through the color “timing” — the film is “timed” the same throughout. But the palate of District 12 is much bleaker than the palette of the Capitol. That’s simply a matter of palette control through production and costume design. 
If you had another half hour of film run time to use — assuming no consequences or complaints for the purposes of this question — is there anything you’d add to this first film? A cutting room floor wish? — Jenny B., Harlem, N.Y.
Honestly no. The movie I put out is the movie that I want, and I wouldn’t add anything to the running time. Equally, I would never make a movie too short just for sake of running time. I think a director should stand behind the cut of their film. I won’t be putting “additional” scenes on the DVD for the same reason. That said, there are a few things that I didn’t have room for in the script just for reasons of a linear narrative. A good example of that is the Avox subplot in the novel. I loved what Suzanne did but couldn’t find a way to get it in the screenplay and it was never shot. 
With the ongoing transition from film to digital capture, the fundamental aesthetic of movies (and TV) is changing. Why did you decide to shoot “The Hunger Games” on film rather than in a digital format? — David, Los Angeles
Several reasons. I love the look of the film and, for the aesthetic of this movie, I wanted both the richness and the grain that film provides. We were also shooting in very remote (and occasionally hot) locations and I wanted the reliability of film. This movie was shot on a very tight schedule and it rained at least half the days. I didn’t want to run the risk of the technical issues that often come with shooting digitally — we simply couldn’t afford any delays. Most systems are very reliable but even if this was a remote possibility, we didn’t have the room in our schedule to run that risk.
Source Interviews Ve Neill, Makeup Designer/Artist for The Hunger Games interviewed Ve Neill about the designing process of the makeup for The Hunger Games, along with prepping for Catching Fire and being a judge on the show Face Off. There's even mention of the infamous Seneca Crane's Beard Facebook page!
Since The Hunger Games is based on a very descriptive book, did you go into your meetings with director Gary Ross and production designer Philip Messina with a lot of specific ideas or did you follow their lead?

I obviously read the book first and then definitely read the script. You're hired for your knowledge and your expertise so I like to go in and say what I think and what I'd like to do, but ultimately we're the tool of the director. We have to go off his inspiration and what vision he has. You also work together with everybody. I worked very closely with Judianna (Makovsky), the costume designer, because all these visions have to work together. Nothing can be done independently of each other or you'll have a jumbled up mess. We all did work very closely together and we all brought our expertise to the table and we made a beautiful meal. [Laughs] 
[Spoiler alert] In the book, Peeta‘s leg wound is particularly gnarly and he eventually loses it. Was actor Josh Hutcherson's leg injury makeup more intense at any point because of that plot point?

No, we never talked about losing the leg. We did do part of a huge wound but we wound up not seeing a lot of it which was fine because I think it was too much. I think they showed just enough of everything to really get the point across of how severe the injury was, along with [Katniss'] burn. I think all of it worked out really well. 
Are you aware that Seneca Crane's beard has its own Facebook page now?
I did! I had to fight to get that beard and I'm so glad I won. I think Gary and Judianna thought it was too much but I said, "Oh, no, no, it's fabulous! We have to keep the beard!" It was one of the tests I got to do ahead of time and I'm so glad. It's an iconic look now which is pretty great.

With the huge success of The Hunger Games, the sequel Catching Fire goes into production later this year. Are you coming back?
Yes, I'm already prepping it in my head! [Laughs] I bought a paperback version of the book and I'm already going through and highlighting and getting all my ducks in a row so I'm really prepared this time.
You hear that, guys? She's the reason Seneca Crane's beard made it into the movie! Check out the rest of the article here, it's very insightful.


Scans of Jennifer Lawrence's Rolling Stone Article

Check out the article from Jennifer Lawrence's Rolling Stone cover (Click to enlarge):

Two New TV Spots!



The Hunger Games Score Review From Someone Who May Like Scores a Little Too Much

MOVIE SCORES, WOO! I just may be a total and utter fangirl for movie scores. A score's job is to bring color to a film, and they are always great indicators of what's going on in the story. Sometimes listening to a score on it's own can hold it's own magic as well. Only a movie score will bring cause to start a lightsaber fight, randomly recite an entire scene, run in slow-motion, and possibly even buy tickets to a John Williams concert at the Hollywood Bowl for 10+ years. But yea….what kind of person does that?!

In case you didn't catch the news when it happened, Danny Elfman was the original composer for The Hunger Games. Suddenly on December 5th, we got the news that Danny Elfman was out due to scheduling conflicts, and James Newton Howard was to be the new composer. I personally was jazzed to have James Newton Howard aboard since he tends to score action movies, my most favorite being WaterWorld.  What was concerning about this news was that this gave him just a little over 3 months to score The Hunger Games. Now typically this is one of the last steps of filmmaking, but 3 months does seem a tad short. When the EPK of The Hunger Games was released we found out many songs that are in the film itself. It seems with the time constraints, not all the score is from James Newton Howard. Thanks to DWTC, they directed us where to listen to these tracks and I want to give them a special shout out for that FANTASTIC post. After a recent viewing of The Hunger Games, being able to listen to these individual tracks with the score album really helped me piece together where everything fit in the movie.

Oh did I say this was a review? Well, I guess we'll call it more of a score review/analysis. For starters, the score is very amazing and satisfying for the story. I've always been used to movies where almost every moment is scored, but this one is quite different. The score exists only where it needs to be. It's not there when it's unnecessary, and it always there to support either a crucial or emotional moment in the film. I'll be taking this track by track. Feel free to listen along!

Track 01 - The Hunger Games
Beginning the movie, we get introduced with some calming music that soon turns sour when the reality sets in: "until a lone victor remains". This becomes a small theme in the movie score's structure.

Track 02 - Katniss Afoot
This track actually does not seem to be used in the film, and seems to have been replaced by the following song: "Farewell". There is a theme within Katniss Afoot,  that does get reused in the arena when Katniss is tracking Peeta. Going along the same lines of the companion album, this track shows influences of folk and country.

Farewell - Evgueni Galperine
This track opens up the District 12 establishing shots. After Katniss leaves her house, we see the dire straits the people of 12 have endured. This is their life, and their reality. The depressing yet hauntingly beautiful vocal humming certainly establishes the mood of this particular day as we hear it with images of people scraping for food, coal miners, and a mother hugging her child before sending him off to the reaping.

Track 03 - Reaping Day
Here's our first good chunk of score music, and quite fitting it being right under the inciting incident of the whole story. Peeta is reaped, making Katniss' problem a whole lot more difficult and setting the story into motion. The lower strings portray the gravity of the situation, and build up to the emotional moment of when for the first time in a very long time, they make eye contact.

Track 04 - The Train
I guess no awesome score is complete without a choir, right? Newton Howard's use of choral voices in this track underline not just the sadness, but the amazement and wonder of the delicacies in the Capitol train.

Track 05 - Entering the Capitol

Extremely interesting components here! There is a small use of choir, but not in any shape of the previous track. The use of choral voices here articulate Katniss' feeling of uncertainty and fear at the Capitol citizen's excitement. I would not even say it is a sad track, and most definitely not happy. In fact, every Capitol scene in the movie never is happy or upbeat (with the exception of the interviews) because we are seeing the Capitol as it truly is. Big theme here in the movie during this track, as it gives off a large middle eastern vibe. Many different eastern instruments are used here, and will be a key component in displaying the Capitol citizens through music. Gives a foreign feeling to the audience. If that's not good representation of the books' intention, I don't know what is!

Track 06 - Preparing the Chariots
A supporting track that does a great job of building the anticipation right before one of the biggest moments in the film.

Track 07 - Horn of Plenty
Katniss & Peeta's big moment! Musically speaking, a great movie score moment. I would call this a major theme in the score, but it actually accomplishes much more than that. As the audience will find out later in the film, this is Panem's anthem, which plays a big part in the film. I do have to say that the moment I realized this part of the score was also Panem's anthem, my head exploded.

Speaking of which, just what are they saying? I think for the most part the Jury is out on this one, but I did take a look to see what the Internet had to offer and found a few people claiming these to be some form of the lyrics:
The Horn of plenty, the horn of plenty overflows. Panem will raise above, Panem shall raise above. May our nation never fall again...The Horn of Plenty overflows.

Track 08 - Penthouse/Training
Taking place in the Capitol, we get a recurrence of the foreign theme (Entering the Capitol) indicating this strange place. I was quite amazed they kept the window contraption in Katniss' room that changed views. Everything in the score speaks uncertainty until…she switches to the forest view on her window. Slightly comforting, yet obviously a downer. The music here really helps us understand just how Katniss is feeling here. The last section of this track goes a little militant and intimidating for the training segment of the film, and of course a reappearance of the foreign theme.

Track 09 - Learning the Skills
Individual training time! Katniss sees what the tributes do best, and fits well next to the previous section of the score during the beginning of the training sequence. The music adds intense feelings and a variety of percussion to illustrate the militant atmosphere.

War - Hypnotic Brass Ensemble
This has got to be on Caesar Flickerman's "Let's Get Psyched" mix.

Track 10 - The Countdown
Not used in the film, apparently.


This sequence is not in the score album at all because it uses THREE different tracks that were all cut together to form the score from the moment the tributes come out of the tubes until Katniss escapes the bloodbath.

Sediment - Laurie Spiegel
You might be interested to know this piece of experimental music was done in the 1970s. Katniss and the audience is blinded by the sun and we get our very first look at the arena. The track gives an alarming sense of disorientation.

A Wasp on Her Abdomen - Chas Smith
Used directly after the countdown ends and the bloodbath starts. Interesting that this should be called "A Wasp On Her Abdomen" as the nature of the notes are sharp and jarring, much like the terrible hand of those tributes forced to take lives.

Three Movements for Orchestra Mvt. 1 - Steve Reich 
Still no sound at this point in the film, Katniss has one of Clove's knives in her backpack and is making a run for it. This music helps give a sense of urgency that all the tributes feel, at least those who are still remaining.

Track 12 - Healing Katniss

Yes, I'm going a tad out of order. This track is used in a couple different ways, one of them occurring before the next track. We first hear this music when Katniss and Peeta share a sad look when the careers have settled down at the base of Katniss' tree. This track has some mentions of District 12 with a slow, folky violin. The score moves on to focus on Katniss' pain and connecting Haymitch's pain for her, resulting in sponsors. As the music turns to fingerpicking, Katnis gets her parachute and finds relief. We also hear this exact part of the score when Katniss finds another kind of relief. Not from physical pain, but from human interaction. Katniss finds her relief from loneliness when she sleeps with Rue in the tree later on in the film. "Healing Katniss" seems to be a very fitting track name.

Allt Varo HLJÓTT by Olafur Arnalds 
Music for the part of the tracker jacker dream that goes into Katniss' loss of her father. We get high violins which are quite common for emotionally high moments in film. Pair this with a xylophone type instrument lightly in the background, and we get a sense of regressed childhood and a broken home.

Track 11 - Booby trap
Katniss blows the food sky high. Little musical nuances here and there, but mostly percussion. Just a dab of guitar or possibly mandolin when Katniss gets in her shooting zone.

Track 13 - Rue's Farewell
On it's own, this piece of music is comforting. The point of view in the film switches from Katniss to Rue when the audience see her start to leave this plane of existence. An odd calming and soothing score is used with slow ambient music. Rue's being comforted by Katniss as she passes on. Somber guitar tells us she's gone and Katniss is left with her grief. "I'm sorry," Katniss cries. The music turns more full, and very funeral-like, supporting the emotion of Rue being surrounded by beautiful wildflowers. This theme will actually be repeated in the future of the film during the highest emotional scene, one also having to do with death: the nightlock scene.

Track 14 - Searching for Peeta

A sense of urgency, with a folksy sound. Parts of "Katniss afoot" appear here, and as Katniss gets closer to finding Peeta, there is a bigger build up. The score rewards finding Peeta with a musical relief.

Track 15 - The Cave

For a "romantic" scene, it does what it should. Higher guitar, slow to accompany what is going on emotionally with the characters. Guitar changes to a quicker pace, as that is when the feast announcement is made. It ends with light piano to imply sweetness, but kicks up to the "Booby Trap" track when Katniss is staking out the Cornucopia.

Track 16 - We Could Go Home

A tender moment when Peeta is applying medicine onto Katniss' forehead. This is totally and utterly a true moment between both of them, and not just for the games. A very hopeful part of the score, and we even get a reappearance from "The Hunger Games" track.

Track 17 - Muttations
Very creepy wind instruments to start, the audience can tell something is about to go down. Intensity of the chase is in full movie score fashion when hear a sort of howl in the music to refer to the Muttations. As they get to the top of the Cornucopia and fight Cato, dissonant electronic guitar can be heard. Though it doesn't seem to be in the score album, there is a reference to the Capitol "foreign" music that can be heard in the film version when the three tributes are fighting on top of the Cornucopia. The final showdown becomes more of a sad theme, underlining the true message of the situation.

Marissa Flashback - Written by Thomas Owen Mostyn Rowlands

An appropriate song choice for this part of the film, it is a little triumphant but a very modern orchestration which is perfect for the Capitol scene. In addition, this piece of music gives a big sense of danger and foreboding accompanying the scenes where Katniss and Peeta are crowned victors and Seneca Crane's end.

Track 18 - Tenuous Winners/Returning Home
This track is split in the film. For "Tenuous Winners" we have happy and relief because Katniss & Peeta are declared victors.  For "Returning Home", we do not get a relieving score but a very sad one. Rue's death score appears here because there is one last emotional moment before the film draws to a close. It evokes Katniss' conflicting emotions. Although this is a great scene to put this scoring under, it works even better underneath the nightlock scene. Swelling music that reminds us of Rue's death also show us that the same music can be just as powerful seeing all of Panem reacting to Katniss and Peeta's decision with the nightlock.

There are many themes in the score that are repeated mixed in with different musical tracks, however they all fit in together like a puzzle. The result is a cohesive score, so these repeated themes are very forgivable especially when you think of how little time James Newton Howard had. Given the time he was given, the result was an OUTSTANDING score that underlines the books' messages and supporting emotional and the most important moments throughout the movie. Thanks for reading!

- Courtney