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

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 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.

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 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 think where Playground is heading is deeper into that marriage between stage, film and television, with the increasing number of people in the film business working in television, obviously something that we were very influential in starting and doing at HBO. And I think that that's the focus of where I see the company moving forward, continuing to explore that intersection of all that talent.