The worth of a life is not determined by a single failure or a solitary success.

I totally related to Cole Porter's magnetic pull to any piano that was in the room, which he was famous for doing, as was Gershwin. You couldn't drag them away from a piano.

When you have satire, it has to be real. No matter how outrageous the comedy becomes, you have to believe in the characters.

Ambition without contribution is of no significance.

Most of the comedies I've done have been rather farcical and extravagant.

I see God as a song-and-dance man. If I had my way, he'd be able to carry a tune, too. Preferably, one of mine.

I see a steady downward slope toward oblivion over the next three years. I'm pessimistic. Everything that's happened to me so far has been kind of flukey. I went into Twentieth Century because I wanted to work for Hal Prince. The part was too small according to my agent. I had been doing only leading parts, and he thought I should continue that. But the part was enlarged in rehearsal: songs were added, and it became more physicalized and showy. Then I won awards and got attention.