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

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 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.

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.

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.

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.