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

My principal focus is finding great dramas.

New York is obviously the capital of theater.

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

I think that's so particularly exciting about this moment in time is all the new platforms that are now existing, the Netflixes and the Hulus and Amazons and so and so forth; I mean they are really doing what pay TV was doing twenty years ago. So a show like Dancing On The Edge gets to have a digital life after it's playing on Starz. I think what's exciting is how these new platforms are providing more opportunities both for first-run programming on the one hand but also for second plays for shows that have appeared first either on traditional broadcast or on cable.

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 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."