They're [children] less forgiving. You have to be very conscious of the fact that they're not going to just accept things; they're going to question. They're going to move around if you bore them. They'll actually leave. So you really have to be on your toes.

You can't go down anybody else's [road]. It's your dream; it's your life. You don't have to be told by other people what to make of yourself. You decide.

I am a feminist, and I didn't think women would accept a throwback heroine.

For the blockbusters, people were always telling me that if you write female protagonists, the boys won't go, so you have to put the boys' stuff in it to get everybody. I write for people from 8 to 80, and that's not easy.

I have a children's theater background, so I grew up performing for child audiences; it's sort of my specialty. I know the child audience pretty well - or felt like I did because I performed for them so much. I studied a lot about the child audience, about theater. So it was naturally a place that I gravitated to.

They're [children] less forgiving. You have to be very conscious of the fact that they're not going to just accept things; they're going to question. They're going to move around if you bore them. They'll actually leave. So you really have to be on your toes.

The first draft you're pretty much on your own, so I love that. I can let my imagination go wild. I just go crazy. Then, over the years - it takes years to write these things, to make these things come to pass - there are many, many, many drafts. For Maleficent, there were at least 15.