My principal focus is finding great dramas.

The notion that the staging of the play Harry Potter should be raw magic and street theater rather than high-tech theater, was essential.

My career has sort of been characterized by taking advantage of the changes in the marketplace, sometimes by design, sometimes by accident.

I find it very invigorating having Ken Lonergan, who's an established, Pulitzer-nominated playwright doing Howards End, or Chris Hampton who's won an Oscar writing a TV series, or having an actor like Mark Rylance, who is probably England's leading theater actor, in the lead in Wolf Hall.

You never know, until you put a play up for an audience, whether it's going to work. Things you think will work don't, and things you're not sure about work really well.

I've had a long association with the theater over the years but I had never produced a play and it was something that I'd always wanted to do.The movies moved away from dramas, and I think that I'm very excited by the opportunity to take smart writing that takes risks and see it on stage. It's exciting to see that engagement between the audience and the playwright.

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.