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.

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.

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 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.

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.

People are piling into England, there's lots of studio films happening there. When we budget our films we multiply it by 1.55 it's much easier than when we multiply it by 2 so the cost looks a lot less in dollars, because everybody talks in dollars in terms of finance. And then the shift that I think is coming, I hope is coming, is movies made in a..."simple" is the wrong word, you visit movie sets all the time I imagine, the whole process has just got so big.

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.