Andrew Lloyd Webber Quotes - Page 1

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I've a rare Turkish swimming cat.

Mobiles mean people know where you are.

It doesn't stand up to huge intellectual scrutiny.

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

Love can make a summer fly, or a night seem like a lifetime.

I'm not a critic, and I never talk about other people's work.

I often think how lucky we were with 'Jesus Christ Superstar.'

I'm a ladies' man who can never make love. I'm resigned to that.

'The Phantom of the Opera' is about love. It's as simple as that.

Nothing will ever be as big as 'The Phantom of the Opera' for me.

People like to put you into a box. I'm afraid I don't sit in a box.

I never wanted to be a performer. I suppose I was precocious, really.

Making good television is what Simon Cowell does. That's his business.

I'm alive. I have my music; I have my children. I am the luckiest man.

I loved medieval architecture when I was very small; I don't know why.

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

Softly, deftly, music shall caress you. Hear it, feel it, Secretly possess you.

People in Britain always think of 'Jesus Christ Superstar' as a musical - it wasn't.

Surely, you go to the theater because you want to have a great evening in the theater.

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

I don't really care very much if I don't think that the critics really understand music.

One would be lying if one didn't say that one had melodies that I keep in my back pocket.

I put a hell of a lot of myself into 'Love Never Dies,' and I felt quite drained afterwards.

I've got to find something and if I find something that I like, I'll do it. If I don't, I won't.

No more memories, no more silent tears. No more gazing across the wasted years. Help me say goodbye.

The arts are the one thing that appeal right across all forms of politics, race, creed - everything.

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

Disgracefully, the arts have too often borne the brunt of short-sighted cuts to educational budgets.

If you just want ten songs to fit somebody else's script, then I'm not really the composer for that.

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

I have always tried with my shows - win, lose, or draw - to take the boundaries of music as far as I can.

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

There's no getting around it: Writing is hard, while working with young performers is nearly always a joy.

I haven't written a score that's going to change the Western world or the musical as we presently know it.

After I had prostate cancer, I had something which was misdiagnosed which led to a load of back operations.

We try to get the best performance out of the artists. There is no point in saying to them, 'You're useless.'

No matter what they tell you, no matter what they do, no matter what they teach you, what you believe is true.

Because her voice is, it's like the muscles and it develops all the time. That was the fantastic thing for us.

We don't have butlers. Obviously we have people who look after the houses, but I try not to run things formally.

Two pieces of advice for young composers: Go away during technical rehearsals. And do not have a back operation.

My love of musical theater was certainly not typical. I mean, it was considered to be very, very abnormal, in fact!

The one thing I have always felt about musical theatre is that it is, to an extraordinary degree, about construction.

They should go back to the medieval tradition, which is that the nave of the church is always used for local business.

What strikes me is that theres a very fine line between success and failure. Just one ingredient can make the difference.

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

What strikes me is that there's a very fine line between success and failure. Just one ingredient can make the difference.

The plot of my 'Phantom' is pretty much mine. It's based on the Gaston Leroux book - I've taken a lot of liberties with it.

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

The regrets in the theatre have always been the shows that you know ought to have worked but for one reason or another haven't.

Superstar was made so early in my career I had nothing to do with it at all. The first time I saw it was the opening screening.

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