I'm writing the book to a children's musical. I got a note from the producers saying, "Can't you make it campier?" So now, I'm trying to determine the camp sensibility of the average eight year old.

I've always wanted to do something where I aged a lot, went from young girl to dowager.

I had two chances to fail [working for Disney]. The first one, they said was "too juvenile." The second one was,they give you general areas to work in. They said, "Set 'My Fair Lady' in ancient Egypt."I came up with this idea about an Egyptian princess, and I gave her, as a sidekick, a little scarab. I had a telephone meeting with the executive "handling" me, and he said, "I looked over the notes. Very cute. But lose the beetle.Beetles don't talk." Well, how do you answer that? I said, "Excuse me just a moment, I've got a teacup calling me on the other line."

I read a lot of those Single Girl in New York books, like "Fear of Flying," where you could sort of put yourself, through transference, into the Jewish Girl in New York situation.

I don't think I could ever go to Auschwitz, because when we took that tour of MGM, I nearly collapsed outside the Thalberg building.

I stole that from Vito Russo. He said he was a devout believer in Judyism.

There's a real fantasy quotient to my work. Any play that I've written for myself to perform in basically begins with the idea, "Wouldn't it be fun to be, say, Jean Harlow in a pre-code movie?"