Julie Taymor Quotes

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.

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.

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.

I think we all see the world from our own little unique bubble.

I really do believe that if you don't challenge yourself and risk failing, that it's not interesting.

There is incredible power in the arts to inspire and influence.

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.

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.

Theater is far superior to film in poetry, in abstract poetry.

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.

When we were kids, you picked up a little paper and put it on a stick; and when you waved it back and forth, you understood the power of air underneath the wings. In that way, a child begins to understand abstraction, poetry, metaphor, symbolism. You play with the materials you have and use your imagination to make them into something else. That what's so sad about having everything on a little screen - it's not physical and dimensional, and that seems backward.

I saw bubbling lava, and at the same moment I saw a reflection of a certain kind of inner turmoil. Because at the moment I looked into that crater, I slipped, and a large piece of volcanic rock took a hole out of my leg. The scar is still there 20, 30 years later. But it's one of those things that reminds you of the kind of risk or the kind of moment in order to push yourself.

What I don't have in theater is editing.

An artist is an entertainer, number one - a storyteller who takes people someplace, who gives them what they didn't know they wanted.

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.

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.

I lived in Indonesia for four years and I understand trance and magic and where it comes from.

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.

I use cinematic things in a theatrical way on stage, and in film I use theatrical techniques in a cinematic way.

But I don't think there has ever been anything written on the nature of violent man as deep and as thorough as Shakespeare's Titus. I think it puts all modern movies and modern exploitations of violence to shame.

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.

It's how you tell the story that makes it new. That's what artists do. They let us look at the world from a different perspective. They let us look at birds in a way that makes us never see birds again in the same way. That's why I don't think computers are healthy for kids. They're too literal. You pop a button and a bluebird comes out. You pop another button and you can take the color blue and shove it into the outline of the bluebird.

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.

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."

You know, I went to Oberlin. At that time, grades were - you elected to have them or not. It was all of that era where grades were out the window. But I did very well in school. I didn't really study the arts; I practiced the arts.

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.

It's people who are repressed and cannot express their fears that are dangerous.

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.

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.

Some of my ideas for film or theater come to me in dreams. I'm also very creative when I'm talking to others. I believe in collaboration.

My God, it transformed me. My life changed.

Creativity is a gift, but if you don't know how to use it you might not even know it's there. There's a lot of creativity in the air, but it's meaningless if you're not open to receiving it.

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.

We tell myths over and over again, lest we forget who we are, lest we not understand that these tales take us through the darkness of our lives, and they put us into a place where you understand what it is to be human.

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.

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.

You just have to throw fear out the window. If there's anything that's going to hold you back, it's fear.

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.

A performance can have amazing visuals and special effects, but it has to tell a good story, even if that story isn't original.

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.

I know I'm missing something, but those who have children are missing what I get to do. And frankly, I'm probably missing more of what I don't want than what I do. Some may call me selfish or narcissistic, but I don't want to spend my time going to PTA meetings. The only way I could have children and do the work I do is to have a househusband - and I'm not attracted to a househusband. I'd rather affect children with the work I do.

My mother was okay with me not playing it safe. She made an agreement with my father that I was going to be raised differently than my brother and sister were. My parents went through the whole sixties rebellion with my brother and sister. But I didn't feel like I had to rebel because I didn't have anyone telling me I couldn't do something. I never went into that parents-as-enemies stage.

Because my parents had given me tremendous respect, trust, and freedom as a child, I knew how to take responsibility for myself. If you're constantly being told "No, don't do that" or "We don't trust you," you can't develop that responsibility.

I am creative in my living space - the designer in me helps that out.

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.

Children have an easier ability to tap into the surreal than adults do, in a funny kind of way.

I love directing Shakespeare on film. It's fantastic that the actors would do exactly the same thing and be true to their part.

I think that both musicals and opera have a capacity to get to an inner emotional landscape.

And I just think that to introduce an unknown Shakespeare is thrilling, too - not to do Hamlet or Romeo and Juliet, to do the richer Shakespeare. People will come to this and not know the story.

Spider-Man is a genuine American myth with a dark, primal power, but it's also got this great superhero, and - hey! - he can fly through the theater at 40 miles an hour. It's got villains, it's got skyscrapers, it's colorful, it's Manhattan. I knew it would be a challenge, but I saw the inherent theatricality in it, and I couldn't resist.