So, to me, it does shift, but it goes round. It just keeps going round and round and round. So if you have the longevity you have the belief and you have the resources to just keep at it you just ignore all that and just keep going where you're at.

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.

Technical problems are like gremlins. They come and go.

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.

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.

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.

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.