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.

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 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.

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.

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

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 have, over the years brought an enormous number of plays to television starting obviously with Nicholas Nickelby and then things like Angels In America or in Wit with Emma Thompson and Mike Nichols. So, yes, I do find that very interesting and I'm sure that down the road there will be plays that I'll want to do that way.