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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.

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
Three
Theater
Film
Films
Two
Stay
Need
Gone
Detailed
Needs
Talk
Rehearsal
Way
Hours
Directed
Good
Actors
Performance
People
Process
Performances

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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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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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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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I think that both musicals and opera have a capacity to get to an inner emotional landscape.
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I am creative in my living space - the designer in me helps that out.
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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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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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What I don't have in theater is editing.
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People will justify whatever for a good cause.
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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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Theater is far superior to film in poetry, in abstract poetry.
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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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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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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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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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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 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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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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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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