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What I don't have in theater is editing.

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
Editing
Theater

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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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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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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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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 am, to be quite honest, sick of hero stories.
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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 lived in Indonesia for four years and I understand trance and magic and where it comes from.
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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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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 have never had a problem with people not being able to understand the words and the meanings in Titus.
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Theater is far superior to film in poetry, in abstract poetry.
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People will justify whatever for a good cause.
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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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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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You don't have to patronize your audience, and you can mix art and commerce in a profound way. You can simultaneously play to the sophisticated, 60-year-old theatergoers and to 4-year-olds.
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That's my policy - to be positive, to just hope that something will happen. If you start with all your fears, your receptivity is for the negative.
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When I'm working as a director, I might have an idea of my own but I'm also trying to get great ideas out of my actors. Directing is much more psychological - it's a lot like being a general. And you have to be organized. While you're making a film, you have between 2 and 500 people asking you a billion questions.
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But I don't think there has ever been anything written on the nature of violent man as deep and as thorough as Shakespeare's Titus. I think it puts all modern movies and modern exploitations of violence to shame.
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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.
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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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