Andrew Lloyd Webber

Negative things, and they were all deliberate and I'm not going to say who they were but I know who they were and it was in the business, and that's not a good sign.

Together, we can nurture the talent of the future and bring the empowering force of music and the arts to a new generation.

If you know what you want to do, as I always loved musicals, and then to have been lucky enough to be successful with them, I think that's all you can ask isn't it? I think I don't really think too much about it. I am a bit shy socially, yeah, I admit that.

When we finally came to start work on this, the joy was it was only Joel and I, we didn't have to answer to anybody, and we didn't have to submit a screen play or anything like that. We just wrote it and then made it.

In Evita I wasn't really hugely involved with it. I gave a little bit of help but they needed a bit of technical help on the movie and so some of my music people went in at the end of the movie and helped out with it.

My wife says I can't remember if she has milk in coffee.

'School of Rock' is fun. Hopefully, I've fleshed it out with a few catchy songs and kept the spirit of the original movie.

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.

A couple of back operations didn't cure anything, but instead, things got worse and worse and worse.

We felt we had to know something of his back story. I don't think people in the cinema would just accept that he's there. I think we had to learn how he (got there).

I'm wondering whether to have someone go around with my mobile to completely throw everybody off the scent. I could appear in weird places.

You never know what will happen. There is a thing called zeitgeist. You have to hit it.

I would have gone right ahead but the only thing, the only phenomenon that's going on now of course, which is different in my experiences, is that you are getting things planted in the Net by people about the Woman in White on the Net. That's not a nice change.

Musical theatre history is littered with bad reviews for now classic pieces.

Glenn Slater is my lyricist who, of the new young lyricists coming along, is the most exciting, I think.

You cannot help but notice that schools that take music seriously tend to be more academically successful.

'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.

I think back at the time, if it had been 1988, I would have thought Michael and Sarah probably would have been cast but I don't think, I think it's much better that the girl is younger and if Sarah would have been 26 or 27 then.

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.

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.