I think that the marketplace has changed in many dramatic ways but actually in some sense it's remained the same because the challenge of creating quality programming is the same, and I've always thought that if you follow the great material everything else will fall in to place.

I think that the marketplace has changed in many dramatic ways but actually in some sense it's remained the same because the challenge of creating quality programming is the same, and I've always thought that if you follow the great material everything else will fall in to place.

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.

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.

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.

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.

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.