Andrew Lloyd Webber Quotes
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My love of musical theater was certainly not typical. I mean, it was considered to be very, very abnormal, in fact!
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Making good television is what Simon Cowell does. That's his business.
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The fact is that 'The Wizard Of Oz' has never really worked in the theatre. The film has one or two holes where, in the theatre, you need a song. For example, there's nothing for either of the two witches to sing.
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As a composer at a point where I can absolutely pick and choose what I want to do, I don't want to write about anybody I don't care about.
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Surely, you go to the theater because you want to have a great evening in the theater.
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Mobiles mean people know where you are.
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'Phantom of the Opera' started in my little 100-seater converted church in Britain with a stage where we did what we did. But it was the score itself was what made it.
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I loved medieval architecture when I was very small; I don't know why.
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I think Michael Crawford realised, I think we all realised, once we'd gone the route of casting a very young girl, you can't really cast a 65 year old man opposite. Slightly different resonance I think. No, we weren't going to go there. We'd have Jack Nicholson in the lead.
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I don't really care very much if I don't think that the critics really understand music.
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What strikes me is that there's a very fine line between success and failure. Just one ingredient can make the difference.
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Two years ago I hadn't even thought of the Woman in White, and I was doing a television show and I said I hadn't found a story and the next day somebody rang me and said have you ever thought of the Woman in White.
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I never wanted to be a performer. I suppose I was precocious, really.
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I have lived and worked in Britain all my life. Not even in the dark days of penal Labour taxation in the Seventies did I have any intention of leaving the country of my birth.
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It must have been an extraordinary time. I guess the worrying thing about musical theatre to me, is if you look at the London season this year, mine is actually the only one to have come in.
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We try to get the best performance out of the artists. There is no point in saying to them, 'You're useless.'
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They should go back to the medieval tradition, which is that the nave of the church is always used for local business.
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I wonder what would have happened if automation and computers had existed when 'Oklahoma!' was having its out-of-town try-out, and three days before closing in Boston, when it was still called 'Away We Go,' they added a new song called 'Oklahoma!' I don't think that could happen today. It's almost impossible to change musicals on the go now.
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I began to think, now is the time. I found quite a lot of opposition in Hollywood about the idea of doing a film musical and we ended up having to buy the rights back. I'm glad we did because it meant John and I were able to make exactly the movie we wanted.
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What I can't tell is, I don't know if there's a subliminal resistance to the idea of a sequel to 'The Phantom of the Opera' anyway.
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If you just want ten songs to fit somebody else's script, then I'm not really the composer for that.
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I do want to write again. I hope to. But it's also important for me to realize, as I get older, that I don't have to be doing everything all at once.
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Corny answer is of course is that everyone who wants musicals are children in different ways, aren't they? So you think of them in different ways. There are things of mine I'm sorry haven't come here.
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Nobody ever thinks that the work they're going to do could ever be bigger than the one they do before, especially if you're lucky enough like I had to have such a huge thing as 'Phantom' was.