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When I was thinking about The Lion King, I said, we have to do what theater does best. What theater does best is to be abstract and not to do literal reality.

Julie Taymor

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Julie Taymor
Age: 72
Born: 1952
Born: December 15
Costume Designer
Director
Film Director
Film Producer
Opera Director
Scenographer
Screenwriter
Theatrical Director
Newton
Massachusetts
Abstract
King
Kings
Theater
Reality
Doe
Literal
Best
Lion
Thinking
Lions

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There is incredible power in the arts to inspire and influence.
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When you break into song, it's not about dialogue, it's not about how you would speak in a naturalistic sense-it's about expressing your inner torment or your inner joy.
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One of the reasons I love to jump back and forth between mediums is that film does allow me to be more literal. I can go to the real place. I can go to the Coliseum, and I don't have to fake it.
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I call myself a playmaker sometimes - but that's just a word. I don't feel like I have to have a title or a job description.
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Learning is about much more than science and math. Doing theater, music, and art in school really helps children's minds grow because they're using different parts of their brains. Parents who care should insist on that.
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Children have an easier ability to tap into the surreal than adults do, in a funny kind of way.
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I received from my experience in Japan an incredible sense of respect for the art of creating, not just the creative product. We're all about the product. To me, the process was also an incredibly important aspect of the total form.
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People will justify whatever for a good cause.
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I lived in Indonesia for four years and I understand trance and magic and where it comes from.
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I use cinematic things in a theatrical way on stage, and in film I use theatrical techniques in a cinematic way.
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Theater is far superior to film in poetry, in abstract poetry.
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I am creative in my living space - the designer in me helps that out.
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I am, to be quite honest, sick of hero stories.
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In a way, artists are shamans, facilitators who take what's there, channel it through themselves, then put it out there for people to appreciate.
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One of the reasons why I love to do Shakespeare is that this great artist was able to talk to a wide variety of audiences. He could do the bawdy plays and the humor and the clowns-as you know, because you're a wonderful Stephano-that speaks to the populace, the masses, the groundlings, whatever.
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I've never been a puppeteer, I conceive and I write and I design and I direct. And not just puppets. I direct actors, I direct dancers, I direct singers, I direct films. I also direct puppeteers. I'm really a theatre maker, but there's not a word for that.
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Going to the Far East was my first eye-opener to a world vastly different from my own. Then when I was 16 I lived in Paris for a year and studied mime. At 21 I went to Indonesia. I had planned to go for three months, but I stayed four years. I just got lost in the culture.
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I want to experience a performance on all levels - I want goose bumps and I want to leave the movie or play arguing about something that's unresolved.
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What I don't have in theater is editing.
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I'm not going to spend two years on a film or four years on an opera if I don't feel like I can put my own self into it. That doesn't mean it has to be about myself.
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