Quotes by: Cameron Mackintosh
|Sir Cameron Mackintosh
Mackintosh at the Australian premiere of Les Misérables in December 2012
||Cameron Anthony Mackintosh
17 October 1946
Enfield, London, England
||£1.05 billion (April 2015)
||Michael Le Poer Trench
I'm privileged to have had some success, but I've never forgotten what it was like to queue for a half-crown gallery seat for 'Oliver!' which is why I ensure that there are £20 day tickets for 'Miss Saigon' and that the balconies in my theatres are as comfortable as I can possibly make them.
Having a think about whether you can afford 'this' or 'that' is a good discipline to have, to maximise what you can achieve to the highest standard.
The commercial and subsidised theatre are intrinsically linked. I wouldn't have had the career I have had without the opportunities I had through the subsidised sector. However, I do think, in any walk of life, subsidy for the sake of subsidy is not always healthy.
Two of my theatres are 1930s and the other five are by Sprague, the greatest Edwardian architect of the lot. They've needed a lot of work doing to them but they were built very well.
My dream is to be on my boat. Or on an island. Or in my house in the country. That's my dream.
An old building is like a show. You smell the soul of a building. And the building tells you how to redo it.
My aunt took me to see 'Salad Days' when I was seven. This story of a magic piano that infects everyone who hears it infected me, too. It was a Road to Damascus moment in my life.
I don't commit to things unless I have my A-team to do it. And I'm not trying to be cocky, but that shows in my productions. They are top notch!
I've spent more money on my theatres since I bought them than I did buying them.
By the time I was ten, everyone knew I wanted to be a producer. I was a very precocious little boy.
It horrifies me how much it costs to put on shows now, mainly due to EU regulations. The freedom to be entrepreneurial is no longer there. It's a massive business now.
I used to have to beg and borrow £25 to hire some French windows. I started producing in 1967, and I was in debt until 1981. Having a think about whether you can afford 'this' or 'that' is a good discipline to have, to maximise what you can achieve to the highest standard.
My own tastes happen to be in tune with what the public wants. I think that's the reason my batting average is so high, not because I've discovered some brilliant formula.
The musical is the one area of the theater that can give you the biggest buzz of all.
I never know what is going to have that 'X' factor and what isn't.
I'm proud of the fact that I've taken a lot of big directors, such as Trevor Nunn and Nick Hytner, who were musical virgins, and introduced them to the form.
I think the worst thing that could have happened to me would have been having a hit at 20. I don't know what that would have done to me. But instead, I had to scrape a living for years. And my first show, which opened in 1969, lost over £45,000, an absolute fortune then.