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

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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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My God, it transformed me. My life changed.
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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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There is incredible power in the arts to inspire and influence.
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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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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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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 am creative in my living space - the designer in me helps that out.
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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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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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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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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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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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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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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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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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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 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 lived in Indonesia for four years and I understand trance and magic and where it comes from.
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