I saw "Follies" again at thirty, and you know, I had this great appreciation for [Stephen] Sondheim's brilliance, his lyrics.

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?"

I took many notes, more than usual before I sat down and wrote Act One, Scene One. I had perhaps eighty pages of notes. . . . I was so prepared that the script seemed inevitable. It was almost all there. I could almost collate it from my notes. The story line, the rather tenuous plot we have, seemed to work out itself. It was a very helpful way to write, and it wasn't so scary. I wasn't starting with a completely blank page.

I saw "Follies" again at thirty, and you know, I had this great appreciation for [Stephen] Sondheim's brilliance, his lyrics.

I always tend to say "no" to everything, but now I've decided to say "yes" to everything. Now, I'm doing all sorts of things that I would've said "no" to before.

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.