I try to give my work everything I've got, because when you're dead or you're out of the business or you're in an old actors' home somewhere, if you've done a good job, your work will still be 16 years old and dancing and healthy and pirouetting and arabesquing all over the place. And they'll say, "That's who he is! He's not this decaying skeleton."

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

With the birth of the artist came the inevitable afterbirth... the critic

I have always been a huge admirer of my own work. I'm one of the funniest and most entertaining writers I know.

Look, I don't want to wax philosophic, but I will say that if you're alive you've got to flap your arms and legs, you've got to jump around a lot, for life is the very opposite of death, and therefore you must at very least think noisy and colorfully, or you're not alive.

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

Directing is a terrible, anxious process. It's all collaboration, and if you have a dream, it's diluted very quickly by the slightest ineptness in any of your collaborators. They're supposed to help you, but too often they help you into your grave.