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.

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 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'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.

It doesn't stand up to huge intellectual scrutiny.

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.

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.