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Americans are attracted to the dark side. But which movies should be allowed to be violent and show that dark side, and which should not? I don't believe in censorship, but I do think there are horrible movies that are bad for you.

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
Think
Americans
Thinking
Movies
Side
Sides
Censorship
Dark
Attracted
Show
Allowed
Shows
Horrible
Believe
Violent

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My God, it transformed me. My life changed.
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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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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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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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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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There is incredible power in the arts to inspire and influence.
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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've had male executives say that my lead character was unlikable because she slept with a lot of guys.
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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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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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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 am creative in my living space - the designer in me helps that out.
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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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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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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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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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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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