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I thought 'Moulin Rouge' was inspirational, and 'Jesus Christ Superstar' I loved.

Both religions and musicals work best with energetic and committed believers. Cynicism or detachment would have destroyed the magic - something true of religion, too.

I feel that Christian music is a subculture directed towards the Christians. It's not really being exposed to non-Christians and it's not really created for non-Christians, so non-Christians almost never hear any of this music.

When I was in high school, I was a bad singer. I mean, all my early acting was musical theater, and my first ever show was 'Jesus Christ Superstar.' Everyone's familiar with it. I played priest number 3 and sang so out of tune that it's not even funny.

I have been long associated with British music. I have favoured it as my alternate music next to American.

I was obsessed with 'Jesus Christ Superstar,' and I used to reenact it in my room when no one was home.

We didn't really expect to achieve anything outside of the UK, and it just went crazy. It's just crazy that people know our music. We're just humbled by it.

I think that some people still think that the formula other than gospel still is not strong enough to get that crossover appeal to people enough that they would play it all the time, or nonchurch people would accept it, but I disagree.

But to make a holiday record that involves favorite American songs and then also get to sing about Jesus birth, it just seemed like a real easy, subtle way to combine a couple of things that I love.

'Phantom of the Opera' started in my little 100-seater converted church in Britain with a stage where we did what we did. But it was the score itself was what made it.