What ignited the rocket that sent you up into the vast regions of comedy, and why? I would say, for me, that philosophical treatise about having black beginnings and wanting love to compensate for that, wanting audiences and wanting attention - I say, "Au contraire." Completely opposite. I want the continuation of my mother's incredible love and attention to me.

We rest our case on the production numbers.

When I'm writing a script, I don't worry about plot as much as I do about people. I get to know the main characters - what they need, what they want, what they should do. That's what gets the story going. You can't just have action, you've got to find out what the characters want. And then they must grow, they must go somewhere.

I know how to make it a great musical. I've got to. It's like I've got to see it on stage.

I wanted to entertain so badly that I kept at it until I was good. I just browbeat my way into show business.

I was adored [as a kid]. I was always in the air, hurled up and kissed and thrown in the air again. Until I was six, my feet didn't touch the ground. "Look at those eyes! That nose! Those lips! That tooth! Get that child away from me, quick! I'll eat him!" Giving that up was very difficult later on in life.

There's a lot of things that I've done to stick into the box set. You never have it this good. I think people should bargain. They shouldn't just buy the set, it's a little expensive [anyway]. But they should say - I'll give them dialogue, I'm a good writer.