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.

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.

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.

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.

I live in New York, so I'm used to the audiences that cheer and clap through a play. It is unusual for London audiences.