The writer Richard Curtis is a genius.

There's always that possibility. But, it would take a hell of a lot of work. Because unlike a movie where you just have to do a little ADR and then some mixing, we've actually got to bring the orchestra back because there is music, as you probably noticed, right the way through the film so you have to orchestrate all of that extra time.

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.

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 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.

Do we have good writers, producers and actors in the U.K.? Yes we do.

The problem with Hot Fuzz and Shaun of the Dead is that they worked brilliantly in the UK, the US, and Australia; internationally they haven't worked so well because people don't know the films as well as in the English speaking languages. So when it comes to putting the budgets together it's quite challenging. So those are the problems you have.