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.

Then something fails and they're all out again, but DVD revenue is disappearing, you know, it's not disappearing but it's going off a cliff and what that's done is it's polarized the industry in a way that I've never seen before where studios are making less, they're bifurcating their choices where they're either going very, very big or they're just picking up a few rights on an acquisition basis or making really small things.

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.

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.

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.