My daughter, Lily Caitlin, means the most to me in the world.

It may be that which we call a rose by any other name would smell as sweet,' but I should be loath to see a rose on a maiden's breast substituted by a flower, however beautiful and fragrant it might be, that is went by the name of the skunk lily.

A lot of people have the misconception that I decided to become an actor when Lily became famous and have accused me of jumping on her bandwagon. But that's completely untrue.

My coming to faith did not start with a leap but rather a series of staggers from what seemed like one safe place to another. Like lily pads, round and green, these places summoned and then held me up while I grew. Each prepared me for the next leaf on which I would land, and in this way I moved across the swamp of doubt and fear.

The record company doesn't know what to do with me, because I'm not a Lily Allen, but I'm not really an indie artist, either. All the best artists have been in the middle.

I began by listening to my mother's collection of Amelita Galli-Curci and Lily Pons records, and then was taken (at age eight) to hear Pons at a Met performance of Lakme. It was at that moment that I decided to become an opera star. Not just an opera singer, but an opera star!

My mother wrote a teen column for the South China Morning Post in the 1950s when she was growing up in Hong Kong. Her name was Lily Mark, but she sometimes wrote under her confirmation name, Margaret Mark. That was how she met my father.

Who made me laugh when I was growing was Chaplin and the Marx Brothers, and then moving on, there were so many that I was a writer for for many years: I was a writer for the Smothers Brothers, Lily Tomlin, then I started on 'Saturday Night Live' as the head writer the first year we started it.