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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
Theater
Editing

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In America, the word art has become like the word adultery. It's this big scarlet letter. When you say you're an artist, people are like, Ugh.
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There is incredible power in the arts to inspire and influence.
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Some people become dullards, but as children we are all creative. It's in the programming, the socialization, that we lose our sense of play.
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You program music with an image and then people are desensitized.
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Limitations force you to find the essence of what you want to say, which is one of the most important things to know for an artist.
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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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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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I've had male executives say that my lead character was unlikable because she slept with a lot of guys.
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Theater is far superior to film in poetry, in abstract poetry.
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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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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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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'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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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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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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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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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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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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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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