????“如此熱愛故事的制片人是相當(dāng)罕見的，”《饑餓游戲》導(dǎo)演弗朗西斯·勞倫斯說。“沒錯(cuò)，有許多制片人親自出席劇本的改編會議，并且有自己的想法，但我不認(rèn)為他們能夠企及妮娜的水準(zhǔn)。”

????雅各布森是故事作者和電影公司之間的溝通渠道，需要管理制作成本和編劇關(guān)切的問題，并且就她認(rèn)為某部電影需要何種元素發(fā)表主張。雅各布森的背景讓她有能力協(xié)調(diào)商業(yè)要求和創(chuàng)意需要。“很多時(shí)候，人們只能看到事物的一個(gè)層面，” 《饑餓游戲》的監(jiān)制，獅門影業(yè)公司(Lionsgate)聯(lián)席總裁埃里克·費(fèi)格說。“而她既能看見森林，又能看見樹木，這種品質(zhì)確實(shí)難能可貴。”

????除了《饑餓游戲》外，Color Force公司已經(jīng)獲得了瑪麗亞·森普爾的小說《你要去哪兒，伯納黛特》(Where’d You Go, Bernadette) 、唐娜·塔特的小說《金翅雀》(The Goldfinch)和凱文·關(guān)的小說《瘋狂的亞洲富人》(Crazy Rich Asians)等作品的改編權(quán)。但首先要開發(fā)的是根據(jù)杰弗里·圖賓作品《他的人生賽跑》(The Run of His Life)改編的《人民訴辛普森案》系列(The People Vs. O.J. Simpson)。這部影片預(yù)定于2015年開始制作。

????在閑暇時(shí)間，雅各布森總是貪婪地瀏覽各種媒體。她閱讀《紐約客》(The New Yorker)、《紐約》(New York)、《得克薩斯月刊》(Texas Monthly)和Longreads.com，聆聽《美國生活》(This American Life)、《廣播實(shí)驗(yàn)室》(Radiolab)和《非虛構(gòu)》(UnFictional)等廣播節(jié)目。她目前還在追看《黑色孤兒》(Orphan Black)、《神探夏洛克》(Sherlock)、《透明人生》(Transparent)、《婚外情事》(The Affair)、《守望塵世》(The Leftovers)和《諜影巾幗》(The Honourable Woman)等劇集。她最喜歡的記者皆是一些佼佼者，比如勞倫斯·懷特、喬恩·克拉考爾、大衛(wèi)·庫什納和帕特里克·基夫，后者是2014年國家雜志獎之特稿寫作獎(National Magazine Award for Feature Writing)得主。

????雅各布森對如何講述一個(gè)令人信服的故事有著深刻的理解，而且往往能引起與其合作的作者和導(dǎo)演的強(qiáng)烈共鳴。勞倫斯說，“她讓我覺得可以安安穩(wěn)穩(wěn)地創(chuàng)意。”他特別指出，哪怕是雅各布森的批評意見，也是值得聆聽的。“每當(dāng)她談?wù)撟约簩@部影片的看法時(shí)，那往往是一種真誠，聰明，很有品位的觀點(diǎn)。而且，她通常是正確的。”（《饑餓游戲》的作者蘇珊·柯林斯非常信任雅各布森，他們最初的協(xié)議是在電話上口頭達(dá)成的，雙方當(dāng)時(shí)還沒有簽訂任何正式合同。“這本書讓我產(chǎn)生了強(qiáng)烈的情緒反應(yīng)，她肯定能夠體會到，我是一名忠實(shí)粉絲，” 雅各布森說。）

????隨著Color Force開始制作電視節(jié)目，雅各布森產(chǎn)生了適度擴(kuò)張的打算。她準(zhǔn)備為公司員工團(tuán)隊(duì)增加一到兩人，每年制作兩到三部電影。按照這種規(guī)模，Color Force依然能夠保持足夠的靈活性，雅各布森也可以繼續(xù)根據(jù)她自身的興趣，做出項(xiàng)目決策。

????“我們將永遠(yuǎn)是一家精品制作室，而不會成為一個(gè)工廠，但我們想成為一家稍微大一點(diǎn)的精品制作室，”她說。在談到該公司實(shí)施的第一項(xiàng)，也是她最喜歡的特殊待遇時(shí)，雅各布森說，“當(dāng)我轉(zhuǎn)型為制片人時(shí)，我告訴自己，我終于可以把我的狗狗帶到公司了。讓狗陪伴你一起工作，是件非常重要的事情。”（財(cái)富中文網(wǎng)）

????譯者：葉寒

????“A producer having her level of love of story is pretty rare, “says The Hunger Games director Francis Lawrence. “I think a lot of producers sit in story meetings and have ideas, but I don’t think they are quite as good as Nina’s.”

????Jacobson acts as the conduit between the storytellers and the studio, managing costs and editorial concerns and advocating on behalf of what she thinks the film needs. Her background gives her the ability to harmonize the business and the creative sides. “A lot of times people are only able to see one or the other,” says Lionsgate co-president Erik Feig, who oversees The Hunger Games for the studio. “She is one of the rare individuals who has the ability to focus on the forest and the trees.”

????Besides The Hunger Games, Color Force has acquired the rights to Where’d You Go, Bernadette by Maria Semple, The Goldfinch by Donna Tartt and Crazy Rich Asians by Kevin Kwan. But first up is a series for FX called “The People Vs. O.J. Simpson,” based on The Run of His Life by Jeffrey Toobin; it’s slated for 2015.

????Jacobson’s media diet is voracious and varied. She reads The New Yorker, New York, Texas Monthly and Longreads.com. She listens to “This American Life,” “Radiolab,” UnFictional.” She’s currently watching Orphan Black, Sherlock, Transparent, The Affair, The Leftovers and The Honourable Woman. Her favorite journalists are some of the best out there—Lawrence Wright, Jon Krakauer, David Kushner and Patrick Keefe, the 2014 winner of the National Magazine Award for Feature Writing.

????Jacobson’s strong understanding of what makes a compelling narrative resonates with the authors and directors she teams up with on films. “She made me feel very safe [creatively],” says Lawrence, mentioning that even Jacobson’s critiques were welcome. “When she says something about the film, it’s coming from a genuine, smart and tasteful place, and she’s usually right.” (The Hunger Games author Suzanne Collins trusted Jacobson so much that their initial deal was struck verbally over the phone before any formal contracts were written up. “I had such a strong emotional reaction to the book that there was no way she could see that she didn’t have a fan,” says Jacobson.)

????As Color Force branches out into TV shows, Jacobson envisions controlled expansion. She’ll add another member or two to the company’s staff and do two to three movies a year. At this size, Color Force can remain nimble—and Jacobson can continue to make project decisions based on her own interests.

????“We will always be more of a boutique rather than a factory, but we would like to be a slightly bigger boutique,” she says. “When I became a producer, I told myself I will finally be able to bring my dog to work,” she says of implementing the company’s first (and favorite) perk. “Dogs in the office are very important.”