Technical problems are like gremlins. They come and go.

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.

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.

For me, I can't tell you if the film is good or bad, all I can say is for me the film is way better than I had expectation of us being able to make. So for me that's the most important thing. Have we exceeded our dream in terms of what it could be?

The writer Richard Curtis is a genius.

I love all my Wrights and it would be impossible to say which one I love more, but if you really pushed me, it would be Joe.

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.

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.

My theory is, I don't know how long it's going to be five or ten years, there will be only two ways to see a movie and that will either be on your computer through your TV screen or in the cinema, end of story. There will be no DVD, that's it, simple.

Making movies is like herding cats.

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?

That middle ground of films used to be 70, 80, 90, 100 now it's like anything over 20 or under 140, the middle ground has become this huge area where they don't really want to be.

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

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.