Outlets for the freed blacks are alone wanted for the erasure of the blot from our Republican character.
I saw "Follies" again at thirty, and you know, I had this great appreciation for [Stephen] Sondheim's brilliance, his lyrics.
I took many notes, more than usual before I sat down and wrote Act One, Scene One. I had perhaps eighty pages of notes. . . . I was so prepared that the script seemed inevitable. It was almost all there. I could almost collate it from my notes. The story line, the rather tenuous plot we have, seemed to work out itself. It was a very helpful way to write, and it wasn't so scary. I wasn't starting with a completely blank page.
There's a real fantasy quotient to my work. Any play that I've written for myself to perform in basically begins with the idea, "Wouldn't it be fun to be, say, Jean Harlow in a pre-code movie?"
I wish somebody would just give me a couple of million dollars a year, so that I could do a play based on every little fantasy I have.
I was very briefly under contract to Disney Animation, to develop ideas for animated features. They don't like you to use the word "cartoon" around there.
I've always wanted to do something where I aged a lot, went from young girl to dowager.
The great and good ends proposed by the Illuminati, as the ultimate objects of their union, are the overthrow of religion, government, and human society civil and domestic.
Like a word on a page that you’ve printed and read a million times, that suddenly looks strange or wrong, foreign. And you feel scared for a second, like you’ve lost something, even if you’re not sure what it is.
I like to have fun out there. I work hard, and then I get to cut loose and go out and tour, and I enjoy it. I like to go out and meet the people. I love to sell books.
Los Angeles: Seventy-two suburbs in search of a city.