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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
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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That's my policy - to be positive, to just hope that something will happen. If you start with all your fears, your receptivity is for the negative.
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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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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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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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I think that both musicals and opera have a capacity to get to an inner emotional landscape.
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People will justify whatever for a good cause.
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Going to the Far East was my first eye-opener to a world vastly different from my own. Then when I was 16 I lived in Paris for a year and studied mime. At 21 I went to Indonesia. I had planned to go for three months, but I stayed four years. I just got lost in the culture.
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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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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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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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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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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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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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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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I am creative in my living space - the designer in me helps that out.
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What I don't have in theater is editing.
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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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Children have an easier ability to tap into the surreal than adults do, in a funny kind of way.
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