Look at 'Bettie Page', that was the classic movie that we had in development forever. I think it pre-dated Killer Films, we made something that is enormously fresh and fun and exactly what the director wanted, and that feels amazing.

The only way to sustain a career is to be as prolific as you can be, and open to opportunities.

Our John Wells deal sort of changed us.

I'm no longer convinced theatrical is the holy grail.

Being on a set where the director has lost control is just sickening. No one goes the extra mile, there's a lot of eye-rolling... it just breeds inertia. If a director is in control, the crew follow their leader. But the second anyone senses the directors are not sure, people just swoop in.

It's a classic rotation away from everything that did well in 1998 and the first quarter of 1999. Everything that did lousy in that time has picked up.