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What I don't have in theater is editing.

Julie Taymor

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Julie Taymor
Age: 71
Born: 1952
Born: December 15
Costume Designer
Director
Film Director
Film Producer
Opera Director
Scenographer
Screenwriter
Theatrical Director
Newton
Massachusetts
Editing
Theater

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I am creative in my living space - the designer in me helps that out.
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We're really having a problem right now in our culture. I haven't seen one movie lately in which the story and visuals have been equally good.
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I have directed good actors and have gone through the process which is more detailed in theater in a way. You have to get people to stay for two or three hours in a performance. They need more talk and rehearsal than in films.
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I have never had a problem with people not being able to understand the words and the meanings in Titus.
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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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A performance can have amazing visuals and special effects, but it has to tell a good story, even if that story isn't original.
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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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I've had male executives say that my lead character was unlikable because she slept with a lot of guys.
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Creativity is a gift, but if you don't know how to use it you might not even know it's there. There's a lot of creativity in the air, but it's meaningless if you're not open to receiving it.
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You program music with an image and then people are desensitized.
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We have often been attracted to the story of the other, the outcast. And he and I just loved working together, so it just kept happening, and our relationship is completely bound up with our work. We enjoy each other's art.
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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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My God, it transformed me. My life changed.
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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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I am, to be quite honest, sick of hero stories.
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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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What I don't know for sure is what's next for me - and I don't mind that. I know for sure that whatever happens will be interesting and will challenge and excite me.
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Theater is far superior to film in poetry, in abstract poetry.
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Growing up I had amazing parents who really let me be creative and free. I was the youngest of three by six years, the child who was the outsider and observer. When I went off to Boston to act, I was very young - 10. And my parents didn't fear that. They had the respect to let me make my choices.
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Americans in particular are myopic. They're not traveling as much. When you were a college student, the next thing you would do on graduation was to take a year off and travel. That's what I did. I went to Indonesia.
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