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.

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.

When I started producing it was right at the beginning Channel 4 in England. Nicholas Nickelby which was my first credit as a producer was Contract 001 at Channel 4 - that was the start of independent production in England and the emergence of an independent sector.

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.

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.

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

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.