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

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.

Technical problems are like gremlins. They come and go.

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 problem with Hot Fuzz and Shaun of the Dead is that they worked brilliantly in the UK, the US, and Australia; internationally they haven't worked so well because people don't know the films as well as in the English speaking languages. So when it comes to putting the budgets together it's quite challenging. So those are the problems you have.

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.

So that is new in terms of where I've seen the shifts. Otherwise, it's all about taste and taste just keeps going round and round and round.