Julie Taymor Quotes

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

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.

We took Beowulf, the epic poem in Old English, and put it right together with John Gardner's contemporary retelling. If you bring it into today, we really feel that it has something very fresh to say now.

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.

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

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

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.

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.

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

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

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.

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.

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

You program music with an image and then people are desensitized.

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.

I am, to be quite honest, sick of hero stories.

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

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.

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.