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

More quotes by Julie Taymor

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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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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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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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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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Children have an easier ability to tap into the surreal than adults do, in a funny kind of way.
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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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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, to be quite honest, sick of hero stories.
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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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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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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 use cinematic things in a theatrical way on stage, and in film I use theatrical techniques in a cinematic way.
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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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There is incredible power in the arts to inspire and influence.
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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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I am creative in my living space - the designer in me helps that out.
Julie Taymor