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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: 72
Born: 1952
Born: December 15
Costume Designer
Director
Film Director
Film Producer
Opera Director
Scenographer
Screenwriter
Theatrical Director
Newton
Massachusetts
Way
Hours
Directed
Good
Actors
Performance
People
Process
Performances
Three
Theater
Film
Films
Two
Stay
Need
Gone
Detailed
Needs
Talk
Rehearsal

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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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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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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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People will justify whatever for a good cause.
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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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My God, it transformed me. My life changed.
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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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There is incredible power in the arts to inspire and influence.
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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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I am, to be quite honest, sick of hero stories.
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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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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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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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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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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'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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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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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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I've had male executives say that my lead character was unlikable because she slept with a lot of guys.
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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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