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 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."

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

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 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 wish somebody would just give me a couple of million dollars a year, so that I could do a play based on every little fantasy I have.