Making movies is like herding cats.

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

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

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.

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.

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.

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.