Mark Hamill Quotes

An opera begins long before the curtain goes up and ends long after it has come down. It starts in my imagination, it becomes my life, and it stays part of my life long after I've left the opera house.

I would love to do a live show with dancers and fashion and scenic elements - definitely bring my love of the theater to a concert-style performance.

After watching 'Peepshow,' people always say to me that it was more than what they expected. It is so much more than a musical. It has a lot of energy and is fast-paced. You are entertained the whole time watching it. One guy from Germany watched 'Peepshow' every single day for the whole week he was in Vegas.

Musicals are plays, but the last collaborator is your audience, so you've got to wait 'til the last collaborator comes in before you can complete the collaboration.

It was both exciting and frustrating to work with an orchestral group.

Any play is hard to write, and plays are getting harder and harder to get on the stage.

My first project was 'Hunchback of Notre Dame'. I co-produced that.

I've known since day one of working on 'Spring Awakening' - back in 1999 - that it was special.

Nowadays, to get a movie greenlit, you have to make an incredible effort.

I love writing plays because they are living, fluid things that are energised by the producer, designers, musicians, actors and audience.

The skit was very successful based on the applause. After that show, the three of us decided to get together and try and come up with some songs that we could all participate in.

You won't see me at a microphone singing and tapping my foot. I spend a lot of money on sets, costumes and sound. I believe people deserve a show. I'm a singer, musician, dancer. I work hard, and I'm soaking wet when I come off.

'Tommy' was the first show I ever saw on Broadway. I was 14. It wasn't 'the show' that started that flame in me or anything, but it did excite me in a way no other show had. I'd never seen a show so brilliantly cast and directed.

You hear about Broadway your whole life, and I learned what it meant to work on Broadway in 'The Phantom of the Opera.'

I played Jonathan Livingston Seagull in a musical version of 'Jonathan Livingston Seagull' in Austin, TX. It was pretty special.

The 'Homecoming King' show started off as a storytelling show that I had done; I worked with Greg Walloch to develop it and build it into something bigger.

I like the idea of conceiving a show and putting on a show, and especially when I got to the place where I could play theaters.

When it comes to writing musicals, you write the best piece you can. Then, its destiny is in the hands of the actors and the director.

The reality is that people need to be coaxed toward a musical. They need to understand why it's a musical.

I would absolutely be interested in doing a Broadway production if it was the right project. But my dream is to be writing pieces of theater for my best friends and putting on plays in New York City and seeing our vision come alive. I just hope to always be creating.

When you rehearse a Broadway show, you get two months of rehearsal, while in TV, it's a much shorter process.

Writing a play to get to Broadway and have a national tour is a sure way to write a terrible, terrible play.

Any musical is a major undertaking.

I love Broadway. I love live performing. It's really spiritual when you can get to interact with people, and they actually affect how your show goes.

But I like the process of putting a show together and the impact that Edinburgh has on me as a performer.