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.

The story of Judith. But one of the reasons I'm doing it is because the roles I've been writing for myself over the past few years have gotten older and older. And I thought, You know, before it's too late, I want to play a sexy, tough young gal again. And I always wanted to do a Biblical epic. So, I'll play a beautiful young widow who saves her people from the Assyrians.

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.

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?"

It's more interesting to put yourself in the place of Bette Davis than Irene Dunne, I guess.

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

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.