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

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 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.

I grew up with "Follies." I saw it when I was fifteen. It was the original production, and of course, that production will never be equaled.

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

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.