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

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People will justify whatever for a good cause.
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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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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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Theater is far superior to film in poetry, in abstract poetry.
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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 have never had a problem with people not being able to understand the words and the meanings in Titus.
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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'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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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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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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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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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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I am, to be quite honest, sick of hero stories.
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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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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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My God, it transformed me. My life changed.
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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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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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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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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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