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

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I am creative in my living space - the designer in me helps that out.
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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 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.
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My God, it transformed me. My life changed.
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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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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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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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When I'm sculpting, I work with wood and clay, and though some say that an image is already in the material and the sculptor just has to discover it, I also believe you have an image in your head that you're trying to get to. So you're in a dialogue with the piece, a back-and-forth.
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What I don't have in theater is editing.
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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 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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I lived in Indonesia for four years and I understand trance and magic and where it comes from.
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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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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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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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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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