That was one time when my technique absolutely deserted me, I must admit. There was a wax face that he had created himself to cover his own ugliness. I was in his clutches and I had to hit him in the face.

Paul Lucas had a particularly amusing accent, so I chuckled. That was terrible; I shouldn't have done that, but he took it too big. He got up and said he couldn't work with people who laughed at him!

Only in your imagination can you revise.

It was so satisfying for me - a great reward, just to see it done well. And it was beautifully directed by my daughter Susan Riskin. Imagine, a play about my mother directed by my daughter?!

I went to Washington to ask for a little residual payment for the people who had written films in the early, early days, people who never got any residuals on tapes or anything at all.

When it was over my daughter said, 'Oh, I felt so sorry for him - he didn't want to hurt you, he liked you.' That was Victoria. When you visualize him up there on top of the Empire State Building, you do feel sorry for him.

Actually, the camera was never overhead at any time. It was always a side view of me. Subsequently, after the picture was released, I saw some scenes from above and my clothes being pulled-and I think that was added later.