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.

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.

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

Technical problems are like gremlins. They come and go.

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

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.