Quote

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.

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
Place
Coliseum
Film
Literal
Doe
Jump
Back
Mediums
Reason
Fake
Real
Forth
Love
Reasons
Allow

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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 am creative in my living space - the designer in me helps that out.
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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 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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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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I lived in Indonesia for four years and I understand trance and magic and where it comes from.
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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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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 think that both musicals and opera have a capacity to get to an inner emotional landscape.
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I am, to be quite honest, sick of hero stories.
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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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Theater is far superior to film in poetry, in abstract poetry.
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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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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 don't have in theater is editing.
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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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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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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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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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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.
Julie Taymor