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.

New York is obviously the capital of theater.

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.

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.

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.

One of the things that's different about London and the English market is that theater and film and television are all based in London. It's not quite the same as in the States where if the playwright here wants a successful TV or film career, they're whisked away by Hollywood.

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.