If the play works in an emotional and engaging way purely from what's on the page, then what's on the stage will be the icing on the cake. If the play didn't work as a play on its own terms, none of the magic, none of the special effects or theatricality of it all, would add up to anything.

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 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.

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

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.

My principal focus is finding great dramas.

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.