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.

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.

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.

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.

The UK needs more first class studio space to encourage the growth of the film and TV sector.

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