A Quote by Andrew Lloyd Webber
I haven't written a score that's going to change the Western world or the musical as we presently know it.
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I'm not saying I'm going to rule the world, I'm going to change the world. But I guarantee I will spark the brain that will change the world. And that's our job. It's to spark somebody else watching us. We might not be the one, but let's not be selfish. And because we['re] not going to change the world, not talk about how we should change it. I don't know how to change it. But I know if I keep talking about how dirty it is out here, somebody's going to clean it up!
No civilisation, not even that of ancient Greece, has ever undergone such a continuous and profound process of change as Western Europe has done during the last 900 years. It is impossible to explain this fact in purely economic terms by a materialistic interpretation of history. The principle of change has been a spiritual one and the progress of Western civilisation is intimately related to the dynamic ethos of Western Christianity, which has gradually made Western man conscious of his moral responsibility and his duty to change the world.
The script is the musical score, and everyone has to play off that score. Even I have to interpret it. The producers are there to eliminate obstacles to that interpretation.
I'm not a musical theatre person, and I never will be, especially after seeing the way it operates. It's so incredibly inefficient. It takes three weeks to effect a change. It can be a lighting change, a script change, a musical change - you have to meet with six different departments, and about a month later, it may happen.
People are talking about the Internet as though it is going to change the world. It's not going to change the world. It's not going to change the way we think, and it's not going to change the way we feel.
There hasn't been a lot written about it in the Western media. But in the Arab world, and Western Asia as a whole, Baghdad was always known as a famously bookish, intellectual city. There's an old saying that Cairo writes, Beirut publishes, and Baghdad reads.
Victor Young had been hired to write the score for the dances of The Ten Commandments but he became very ill. You were then hired to write the score. But at the same time you'd written The Man with the Golden Arm score.
I have written letters that are failures, but I have written few, I think, that are lies. Trying to reach a person means asking the same question over and over again: Is this the truth, or not? I begin this letter to you, then, in the western tradition. If I understand it, the western tradition is: Put your cards on the table.
Growing up my whole life, my mom was telling me how incredible and special I was and that I was going to change the world. I think it's important for girls to know that they can change the world, that they do have an impact.
When working with classical musicians, it is important to be clear as possible in the score about what my intentions are. Because there isn't a lot of rehearsal time, especially at the ballet, it's best if everything is written in the score.
For the score of 'Black Panther,' the heart and soul came from immersing myself in the rich musical history of the griots in West Africa. I was following these brilliant musicians all over rural Senegal, learning their musical language.
Generally, you're going into every game with excitement. You know you're going to play forward and not going to defend. You're going to try to create and score goals.
We're always trailing, as far as the amount of roles that are written for us and the films that are being made that have black characters in them. I don't know if that's going to change.
Everyone knows I am fast, so I have to change the way I play. I always know I have to change the way I score. Every game is different.
My background is in musical comedy. I didn't know I was going to be an actor. But all my points of reference have to do with musical comedy and in being kind of a showoff.
Enclosure, upon its completion, was the record which represented the achievement of all the musical goals I had been aiming at for the previous 5 years. It was recorded simultaneously with Black Knights' Medieval Chamber, and as different as the two albums appear to be, they represent one investigative creative thought process. What I learned from one fed directly into the other. Enclosure is presently my last word on the musical statement which began with PBX.
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