When I did Nicholas Nickelby originally, that was a co-production between the new Channel 4, Polygram in Europe and Mobil Oil in America, and I have been involved in working on co-productions for years on both sides of the Atlantic and that's very much at the core of what Playground is doing. So marrying, finding projects that can be co-produced and can be produced using the very best talent from both sides of the Atlantic that's absolutely right at the center of what Playground is doing.

My principal focus is finding great dramas.

In this new digital landscape, this sort of international marketplace, it's come full circle, and I wanted to take advantage of my talent relations on both sides of the Atlantic.

The White Queen in many ways it is representative of the sort of drama that I'm talking about. The books by Philippa Gregory were best sellers and they specifically told the story of history from the point of view of women.

One of the things that's different about London and the English market is that theater and film and television are all based in London. It's not quite the same as in the States where if the playwright here wants a successful TV or film career, they're whisked away by Hollywood.

The play has to work for the super fans, and not speak down to them, and yet it had to play to those people who maybe had never read a Harry Potter book or seen the films.

I had read the scripts that Nora Ephron had written as a movie about Mike McAlary. We were never able to make it at HBO because we couldn't cast it properly and when I left I called Nora and said, "Look, I actually think that the movie luckyguyindustry has changed. It's very unlikely that you'd be able to make this as a movie. I actually think it's a play."