I was very briefly under contract to Disney Animation, to develop ideas for animated features. They don't like you to use the word "cartoon" around there.

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

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

At fifteen, it [ "Follies"] didn't have any kind of resonance with me, this show about regret and middle age.

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.