But in the former, those movie sets that you've been on like that, even if they're huge movies and most of its being spent in special effects afterwards, I think that's the way that we're going.

For us in England, the relative value of the pound against the dollar, that has a huge impact on how easy it is to get our films made in the U.K.

Something like small English films were in vogue you had something like The Crying Game and everyone piled into London and wanted to make small English movies.

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.

The dream was to not only make a good-looking film that engaged, but also had the DNA of the show so the fans would love it and also as important had the opportunity to cross over out of the fans because of the price-point. You make a film that's 60 million dollars you can't just appeal to musical theater fans.

The idea that the Tony committee and the New York theater community as a whole have embraced Billy Elliot is very, very exciting.

It wasn't like we cut songs out; we cut bits of songs, bits of action or bits of whatever. So we would have to go back in get a full orchestra re-orchestrate it, re-score it, re-record it. It's a massive job. But, if there's a demand we can always discuss it.