Oh, IMDB, yeah; there's a few things on there that are TV, they're not film, some things they think we did that we didn't. There's a few inaccuracies in there. It's terrifying though, isn't it?

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

In terms of putting the cast together, no problems. You know, the only problem always is just price-point. Our ambitions as we get older, all of us, is to try and do more.

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

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.

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.

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.