I think that most of the children's writers live in the world that they've created, and their children are kind of phantoms that wander around the edge of it in the world, but actually the children's writers are the children.
You hear about Broadway your whole life, and I learned what it meant to work on Broadway in 'The Phantom of the Opera.'
We need, in effect, to make the phantom 'lock-boxes' around the trust fund real.
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.'
Yes, but Phantom Productions is my core team. It is like my family. And I love them.
I love the fact that James Ivory made films about Britain, made 'Howards End' and 'The Remains of the Day,' or that Paul Thomas Anderson made 'Phantom Thread.' They're about Britishness, but they're from an American perspective. And I actually think they're fantastic in the way that they understand Britishness.
Coming from a different perspective on a society is really interesting. I love the Paul Thomas Anderson's 'Phantom Thread,' and that's a version of Britishness and Englishness made by an American.
'The Phantom of the Opera' is about love. It's as simple as that.
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.
'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.
