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

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

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 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.