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.

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.

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.

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.

The next few years are going to be horrendous in the UK. The last thing we need is a Somali pirate-style raid on the few wealth creators who still dare to navigate Britain's gale-force waters.

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.

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.

It doesn't stand up to huge intellectual scrutiny.

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.

Well the least favourite question is the one that one's asked particularly about in Japan is what's the difference between theatre and cinema and I think, well, that's about eighty bucks.

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.

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.

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.

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.

I mean I don't really think about it. You know, do you know what I often say to myself? I think you're very lucky in life if you know what you want to do.

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.

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.

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.

I knew nothing about film at all. I suppose the biggest surprise is all these things. In the theatre we sort of do, I might do two or three key interviews and that would be 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.

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 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.

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

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.

I'm going to take the kids away over Christmas but I don't, I've written 14 musicals now, I don't want to rush into doing something just for the sake of doing it. I want to do it when I find a story.

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.

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.

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.

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.

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.

'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.

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

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

'The Phantom of the Opera' is the biggest thing I've ever done, bigger even than 'Cats' which, in itself, I never thought we'd top.

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

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.

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.

At one point I couldn't move or get out of bed or anything. I developed blood clots because I'd been completely inactive. Then they thought - because the pain was so much - I had an infection in the bones, so they gave me pills, which gave me a tummy infection. It's like a French farce.

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

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

I don't think I am that materialistic, actually. Obviously at home in the country the art collection is important, but we have one big room in the middle of the house where we do everything - the television, the kitchen, everything.

I have a very strong will.

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

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

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

I often think of random melodies. And I pretty much hear in my head what I want to do with the orchestra as I'm writing on the piano.

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.

I'm a composer, and therefore I know when I've written a good tune. When you've written a good song is when you know that the lyric is completely coalesced with the song.