"Some examples in the past have been hair grooming tools and hair symulation tools from movies like Tangled, snow symulation systems like we made for Frozen, and all the way up to lightning and crowd symulation systems we did for Big Hero 6." - Andy Hendrickson, chief technology officer from Walt Disney Animation Studios (x)

We had already been shooting for about five weeks when Catching Fire was released, and you could see and feel the reaction people had to the end of the movie. It affected our approach to her character and her state of mind. Although she is damaged, it’s about modulating the right kind of damage so you still have some of that fierce determination, anger, and suspicion. It’s balancing all of that with fragility because there’s not much fragility in that look at the end of Catching Fire, so it was about finding the nuance of her damagedness. I have to say Part 1 was probably one of the most complex movies I’ve done in terms of tracking a character’s emotional state. It’s so specific, and you have to be so careful not to go down the wrong path. It would be so easy for the fine tuning of the performance to go off - not because of anybody’s fault - but it’s literally making the right choices to go down the right path. But I think Jen did a great job and I’m really pleased.

Francis Lawrence on their approach to Katniss’ vulnerability in Mockingjay Part 1 (X)

OKAY BUT FOR ANYONE WHO STILL DOESN’T THINK THAT KATNISS LOVES PEETA SHE WAS WILLING TO LET A REVOLUTION CRUMBLE IF COIN DIDN’T PROMISE TO RESCUE HIM AT THE EARLIEST OPPORTUNITY IF THAT’S NOT LOVE I DON’T KNOW WHAT IS