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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.

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
Essence
Force
Artist
Find
Important
Things
Limitations
Limitation

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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 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 had male executives say that my lead character was unlikable because she slept with a lot of guys.
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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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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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People will justify whatever for a good cause.
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What I adore is the juxtaposition of high tech and low tech. It's sort of like I love the sacred and the profane. I love to put these extremes in the same hopper.
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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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An artist is an entertainer, number one - a storyteller who takes people someplace, who gives them what they didn't know they wanted.
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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 am, to be quite honest, sick of hero stories.
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Theater is far superior to film in poetry, in abstract poetry.
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When I'm sculpting, I work with wood and clay, and though some say that an image is already in the material and the sculptor just has to discover it, I also believe you have an image in your head that you're trying to get to. So you're in a dialogue with the piece, a back-and-forth.
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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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Children have an easier ability to tap into the surreal than adults do, in a funny kind of way.
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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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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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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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What I don't have in theater is editing.
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