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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.

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
Form
Products
Also
Creating
Received
Important
Respect
Japan
Creative
Incredibly
Process
Incredible
Experience
Total
Sense
Product
Art
Aspect

More quotes by Julie Taymor

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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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I have never had a problem with people not being able to understand the words and the meanings in Titus.
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Limitations force you to find the essence of what you want to say, which is one of the most important things to know for an artist.
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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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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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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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There is incredible power in the arts to inspire and influence.
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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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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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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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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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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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I've had male executives say that my lead character was unlikable because she slept with a lot of guys.
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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 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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Children have an easier ability to tap into the surreal than adults do, in a funny kind of way.
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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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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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I think that both musicals and opera have a capacity to get to an inner emotional landscape.
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