Andrew Lloyd Webber Quotes

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

Look with your heart and not with your eyes.

The heart understands. The heart never lies. Believe what it feels, and trust what it shows. Look with your heart; the heart always knows. Love is not always beautiful, not at the start. But open your arms, and close your eyes tight. Look with your heart and when it finds love, your heart will be right.

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

You're the luckiest person in the entire world if you know what you really want to do, which I was lucky enough to know when I was very young. And you're the luckiest person in the world if you can then make a living out of it.

Well we'd just seen Gerry. I think he wanted somebody who had that authority and was handsome. The thing is, he's a big hunk isn't he? All I can say, if you look at his chat line, or the Phantom website, it's quite worrying. Because the girls really seem to love him.

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

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

It doesn't stand up to huge intellectual scrutiny.

I think the thing's that perhaps sad really is that younger people haven't come in and I think it must have been absolutely fantastic to have worked in the 50's when you had all of the great Broadway composers and when West Side Story didn't win the Tony Award.

And it sort of jogged a memory of something that I read at school and I read it, and I thought God this is it. So you never can tell. I could find something this afternoon.

Slowly, gently, night unfurls its splendor.

Grasp it; sense it - tremulous and tender.Turn your face away from the garish light of day, turn your thoughts away from cold, unfeeling light - and listen to the music of the night !

Music, architecture and pictures have always been my passions, and all that material wealth has meant for me, is being able to have some of the pictures I liked.

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.

I guess we've had a very close relationship because I don't pretend to know about cinema and I think I do know a bit about theatre but he does, he respected that and so we really just had a collaboration which went completely like this.

Here's the truth. The proposed top rate of income tax is not 50 per cent. It is 50 per cent plus 1.5 per cent national insurance paid by employees plus 13.3 per cent paid by employers. That's not 50 per cent. Two years from now, Britain will have the highest tax rate on earned income of any developed country.

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.

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.

The moment the doctor said he wanted to do a biopsy, in my heart I thought I'd probably got it. But I also know a lot of people who have also had prostate cancer, so I had a reasonably good idea what to expect.

When people ask me if musical theatre should be taught in music colleges, I reply that there is no need. All anyone needs to study is the second act of La Boheme because it is the most tightly constructed piece of musical theatre that there is. It is practically director-proof: you can't stage it badly because it just works too well. If you can write La Boheme, you can write anything. I would also recommend studying Britten's Peter Grimes.

Think of me, think of me fondly When we've said goodbye.

Remember me once in a while Please promise me, you'll try. Recall those days, look back on all those times, Think of those things we'll never do. There will never be a day When I won't think of you. Can it be? Can it be Christine? Long ago, it seems so long ago, How young and innocent we were. She may not remember me But I remember her.

All I've ever tried to do is get the best out of people and to bring a bit of humour into it. Unlike, say, 'The X-Factor,' which may be great TV, but has no humour at all.

I was about 10, and I was supposed to be playing the piano at the school concert, and I got up in front of the whole school and said, 'I'm sorry. I'm changing the agenda. I want to play some songs I've written.'

Mobiles mean people know where you are.

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.

I said, look, do you think you could bring Gerry through, and they said yeah, absolutely, they thought that. Joel was very keen to cast him. If all my music team were happy, I was happy.

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.

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.

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

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

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

I think that the wonderful advantage we have in the film of being able to cast a girl as young as Emmy and which we couldn't do in the theatre of course because no girl of 16 or 17 could sing 8 shows a week, couldn't sing two.

Musicals are very collaborative. Unless you find somebody who wants to do something with you and has equal commitment, it's not going to work.

Love changes everything. Days are longer, words mean more. Love changes everything. Pain is deeper than before. Love can turn your world around, and that world will last forever.

Nobody seems to think it's a good idea to mention mistakes, but I think it's important to acknowledge the mistakes you've made in life, because it's really through those that you learn things. I've made hundreds.

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

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.

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

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.

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

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

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

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.

'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 guess the thing is that we remained huge friends after the original Phantom movie, when we decided it wouldn't take place and we just saw each other socially over the years so we were friends.

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

I remember, once I was going through Nice airport with Roger Moore, and these kids came up and asked for our autographs. Afterwards, Roger said, 'It must be very strange for you. I'm an actor, and signing autographs is part of what I do. But you're a public figure who people don't really know.' He was right.

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.

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.

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