A Quote by Andrew Lloyd Webber

What I can't tell is, I don't know if there's a subliminal resistance to the idea of a sequel to 'The Phantom of the Opera' anyway. — © Andrew Lloyd Webber
What I can't tell is, I don't know if there's a subliminal resistance to the idea of a sequel to 'The Phantom of the Opera' anyway.
I'm still wondering about the Phantom in the chair, you know at the end of Phantom [of the Opera], so I guess that's my sort of idiocy. I still haven't figured out how they do that.
The roughest make-up I ever wore was for 'Phantom of the Opera' because the phantom's face was all disfigured, and he's trying to pass in public so he can attend his beloved opera. That was make-up over make-up.
Even when I rehearse down in the bowels of the Metropolitan Opera, you can't help but think why The Phantom of the Opera was inspired by what happens in the bowels of the opera house.
I used to know all the lyrics to all the songs from 'The Phantom of the Opera.'
You can't tell the story of a 13-year-old boy who knows every lyric to 'Phantom of the Opera' without also referencing how much teasing he gets at school.
In the Broadway world, I've always wanted to play Valjean in 'Les Mis', since I've already played Gavroche. I'd also like to play the Phantom of the Opera, but I haven't really thought about any film characters. You've got to have a whole lot of training for the Phantom role, vocally.
I'm an obsessive musical theatre person, so some of the most formative albums for me were, you know, the 'Phantom Of The Opera' soundtrack or 'Into The Woods.'
My message is to forget about dichotomies. The Brain Opera is an opera, even if it does not tell a story in the usual way. It is a psychological journey with voices - so I do consider it an opera.
'The Phantom of the Opera' is about love. It's as simple as that.
Robert Duvall taught me years ago. He said, "You know theatre is not real. I don't like plays." You know, he doesn't like plays. And I agree with him in certain ways, you know. They can be fun. I don't mind going to see them. I went and saw Phantom of the Opera. I thought hey, that's cool. Look at the mask and all that.
The idea of Rambo is kind of intriguing as a closing chapter. When you shoot a film as a sequel to do another sequel it's a whole other tone. But when you know it's the final chapter you try and put in there as much emotion, understanding and closure as you can. So, whereas Rocky is a lighter character and optimistic, Rambo is much darker.
Nothing will ever be as big as 'The Phantom of the Opera' for me.
Tonight I gave you my soul, and I am dead." - Christine, from Gaston Leroux's: The Phantom of the Opera.
I've often thought that we left the original 'Phantom' with a little bit of a cliff hanger, and I thought, 'Well, why not to do a sequel to it' at one point.
I feel the way I always do about sequels. If there's an idea that excites me enough, and it feels like a way to do something new and fresh, then great. But I don't ever want to do a sequel just for the sake of doing a sequel.
King Kong, Count Dracula, and the Phantom of the Opera are just looking for love, like the rest of us.
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