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.

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.

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.

I think it's probably, musically, probably the most sophisticated. ("The Woman in White") There's a lot more daring harmony in it than in some of my pieces... 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?... Sondheim is absolutely wonderful and Alan Jay Lerner was wonderful.

It doesn't stand up to huge intellectual scrutiny.

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.

We don't have butlers. Obviously we have people who look after the houses, but I try not to run things formally.