So that is new in terms of where I've seen the shifts. Otherwise, it's all about taste and taste just keeps going round and round and round.

I love all my Wrights and it would be impossible to say which one I love more, but if you really pushed me, it would be Joe.

Then something fails and they're all out again, but DVD revenue is disappearing, you know, it's not disappearing but it's going off a cliff and what that's done is it's polarized the industry in a way that I've never seen before where studios are making less, they're bifurcating their choices where they're either going very, very big or they're just picking up a few rights on an acquisition basis or making really small things.

The shifts happen on a regular basis, but it's like a cycle. So things come in and out of vogue and then five years later they're back in vogue. Or there seems to be a theory that this is the way the industry will go and everybody goes over that way and then something happens to the country and you're back again at the place you were.

That middle ground of films used to be 70, 80, 90, 100; now it's like anything over 20 or under 140, the middle ground has become this huge area where they don't really want to be.

I think everyone's going to really try to keep costs down. The more you keep costs down, the more freedom you have creatively. I can protect my filmmakers from any form of creative interference, be it from anywhere, if we're all acting in a responsible way and making the pain of a failure be as little as possible.

The pay window will be: you can choose how and when you see, whether you see it on Comcast or Warner's Cable delivery system or Sky in the UK or you can buy it through Apple, or you might even buy it directly from the studio's site. Who knows? But that will be it. You'll go to the cinema and you'll find a way of digitally interacting with the piece; you'll either buy it or rent it or whatever.