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.

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.

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

Joan Rivers is a very wise lady. We're good friends, and I find her very much an inspiration as to how to conduct your life, and how to remain very youthful, with ambitions and dreams. Anyway, she always says that she says "yes" to everything, because you never know which thing will click, or be thrilling.

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.

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.