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."

At heart, I'm really interested in this marriage of theater, film and television and I think what happened in the UK and obviously is happening here is that there's a convergence of talent kind of moving between the different disciplines and I find that very exciting.

I think people want the intimacy in the engagement of sitting in a theater with people and seeing something happen live and engage in that. I think that could be a very powerful experience.

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.

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.

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.

I live in New York, so I'm used to the audiences that cheer and clap through a play. It is unusual for London audiences.