The theater is a communal experience, and whatever the emotional connection between an audience member and the actors onstage, it ripples through the whole audience. Part of the fun of the play is being a part of that audience.

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.

I had read the scripts that Nora Ephron had written as a movie about Mike McAlary. We were never able to make it at HBO because we couldn't cast it properly and when I left I called Nora and said, "Look, I actually think that the movie luckyguyindustry has changed. It's very unlikely that you'd be able to make this as a movie. I actually think it's a play."

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.

My principal focus is finding great dramas.

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.

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