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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.

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
Didn
Parent
Observers
Young
Growing
Outsiders
Children
Choices
Boston
Years
Creative
Six
Really
Child
Amazing
Make
Free
Parents
Youngest
Fear
Respect
Outsider
Three
Went
Observer

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Theater is far superior to film in poetry, in abstract poetry.
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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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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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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.
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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.
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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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People will justify whatever for a good cause.
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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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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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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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Learning is about much more than science and math. Doing theater, music, and art in school really helps children's minds grow because they're using different parts of their brains. Parents who care should insist on that.
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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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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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What I don't have in theater is editing.
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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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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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My God, it transformed me. My life changed.
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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 think that both musicals and opera have a capacity to get to an inner emotional landscape.
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