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.

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

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 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.

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

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.

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.