Women Authors From The United States

"Crews is one of the most sharp, charming, and heartfelt comedic storytellers working in NYC."

"A “trusted leader in our small business community and a relentless advocate who approaches advocacy with a resilient spirit and a smile for all” - Senator Michael Gianaris"

"Life is full of disappointments. And by "disappointments" I mean "people.""

""That's the way it is" is unacceptable. If I'd accepted that mentality I'd never be where I am today. Expect something better. Fight for it.*"

"Even though she is enduringly fond of her creations, Ms. Taymor never operates any of the puppets herself. "I can't do everything," she said. … Becoming renowned for puppets is not easy — finding a new galaxy or making the draw at Wimbledon is easier. … People sometimes sum her up simply as a puppeteer, which aggravates her to no end. She prefers to be thought of as a writer and director who happens to use puppets. American culture, she believes, does not pay due homage to the idea of the puppet. … She believes it might be better to allude to her puppets as "kinetic sculpture.""

"It’s not difficult to see why Taymor, with her penchant for folk tales and fascination with the cycles of life, would be attracted to the epic tale of an ordinary boy who must cross the thresholds of death and rebirth to claim the mantle of hero."

"Julie Taymor's definitely a magician. And I think that's what you call a person who, even though they put the rabbit in the hat, is really surprised when it comes out: that's her."

"Oh, yeah, I'm scared. If you don't have fear then you are not taking a chance. But what I do have is a team. If your collaborators are there, which is what answers the fear question, and they all are as impassioned as you are, and believe in it, then your fear is mitigated."

"I'm trying to make the theatrical experience an environmental experience. We want to have the theatre of it right in the laps of the audience … You don't know until the last half second that he's going to be that close."

"I love it when people say "What a horrible, lousy idea." I think that's great … I hate the comfort zone … I don't think that anything that's really creative can be done without danger and risk."

"In our culture, we think that happy and color is trivial, that black and darkness is deeper. But Nietzsche said — which is a line that I firmly believe — "Joy is deeper than sorrow, for all joy seeks eternity." And if you see Grendel, you'll see, as he's on the edge of the abyss, ready to leap to his death, he sings, "Is it joy I feel? Is it joy I feel?" And it's so, so moving. You can have a lot of different explanations for the ending of that opera, but there is something so palpable that you will feel when he sings those lines."

"I'm not one of these people that go, "Oh well, I'm just going to do my art and I don't give a shit what anybody thinks." I don't feel that way. I really, really love to have people honestly be moved and inspired. And whether it's just here or just here — it's always better if it's the both. That's why Shakespeare is so great, because he gets you from the gut to the heart to the head, and that's what I aspire to do, more than anything."

"There is something human beings can do. "The adrenaline rush," we call it. Fear, tremendous love. When people kill themselves, commit suicide over love, that kind of passion will move mountains."

"The concrete world isn't necessarily the most powerful world. The world of the mind — whether you're watching Matrix or whatever — the world that's inside here has the power to do a lot of good and a lot of damage."

"I'm not religious, but I believe in the ecstasy that art and religion can create in human beings, the ecstatic or the awe — as I like to call it, you know, "a-w-e" — that it makes people feel in a way that isn't their banal, everyday feel. That they go, "My God, it transformed me. My life changed.""

"Theater is far superior to film in poetry, in abstract poetry. … A lot of what I do in theater is cinematic, and a lot of what I do in film is theatrical, but there are different rules to it. … each art form makes me more interested in the other art form because I try and bring in those techniques and those ideas and put them into a different way of using them."

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

"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."

"We can either be monsters or angels. We are able to be demons and angels, as that book says. We are able to be incredibly creative or to be incredibly destructive. We have that decision to make, to create something. It could be grotesque and ugly, but it is monstrously beautiful, so it inspires people."

"You know, we still hear the word "puppet" and we get this nauseating image of some kind of Muppet or something. Puppets really are the origin of theater. Even the shadow on the wall of Plato's cave was a puppet. The very first actor was some kind of hand creating some kind of animal."

"Where I live is not necessarily in New York City. That's where my apartment is, but I live in Mexico, or I live in Indonesia. I live in Japan. I feel as comfortable in those other cultures, because, in a way, I'm always uncomfortable. I can't explain that, exactly, but I put myself into situations where I'm forced to do something, to create, to respond, to see differently."

"I read a lot of books that are, for lack of a better word, cross-cultural. I find movies and books that take me — transport me to another culture are the things that I'm most interested in, and always have been."

"When I was 14 or 13 or 15 I went to Sri Lanka on the Experiment in International Living for a summer. I wanted to travel. And going outside of my own culture and traveling and seeing my own world from a foreign perspective is a big part of my life and who I am. That's what I was talking about earlier, is stepping outside of yourself and examining yourself with a different perspective is very important, and it's important to do as an artist for others."

"I used to say that arts were talked about in the arts and leisure page. Now, why would it be arts and leisure? Why do we think that arts are leisure? Why isn't it arts and science or arts and the most important thing in your life? I think that art has become a big scarlet letter in our culture. It's a big "A." And it says, you are an elitist, you're effete, or whatever those things...do you know what I mean? It means you don't connect. And I don't believe that. I think we've patronized our audiences long enough. You can do things that would bring people to another place and still get someone on a very daily mundane moving level but you don't have to separate art from the masses."

"I understood really the power of art to transform. I think transformation became the main word in my life. Transformation because you don't want to just put a mirror in front of people and say, here, look at yourself. What do you see? You want to have a skewed mirror. You want a mirror that says you didn't know you could see the back of your head. You didn't know that you could amount cubistic see almost all the same aspects at the same time. It allows human beings to step out of their lives and to revisit it and maybe find something different about it."

"We always write stories of tragedies because that's how we reach our human depth. How we get to the other side of it. We look at the cruelty, the darkness and horrific events that happened in our life whether it be a miscarriage or a husband who is not faithful. Then you find this ability to transcend. And that is called the passion, like the passion of Christ. You could call this the passion of Frida Kahlo, in a way. When I talk about passion, and I'm not a religious person, but I absolutely am drawn and attracted to the power of religious art because it gets at that most extreme emotion of the human experience."

"She painted what she painted because she had to, because she was passionate about it. She didn't care at all if people bought her paintings. As she said, she painted her reality. I find that I make as an artist the kind of choices that I have to be impassioned about. 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. That's a difference. Frida painted her own reality, her life. I'm a director and I paint many other people... Other people's realities. But I do have to invest in it."

"To me, where theater has it all over film is that it’s in the moment, it’s tactile, you feel it …You’re completely immersed in it — right here and right now."

"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."

"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."

"The first thing I do when I’m creating, either for stage or for cinema, is to find the ideograph of the story. Which is; the one, simple expression that can tell everything. And at the same time be recognizable for the audience. It’s like in old Japanese paintings — if you were to paint a bamboo forest, you should be able to find its essence with only three strokes."

"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."

"I would never do something with just puppets. . . But I like the things puppets allow you to do. I had this puppet Dinah Donewell, and she had this hand puppet named Mr. Pleaser. He was her lap dog who was constantly under her skirt. Now if you did that with actors, people would be offended. But in this case, so what? It was a puppet with a puppet."

"We have a ways to go in understanding the power of puppetry … Our problem is for too long we have thought of puppets being for children. … The appeal of puppetry to me is it's much more freeing for an artist … Puppetry is a completely controllable means to attack your characters in every possible way. The artist has the possibility to create a much larger landscape with puppetry. The human becomes more human in that sense. Another of the great things about puppetry is the ability to transform."

"I can't design a mask and say to someone else, "Just do it." It's partly because I'm a better sculptor than I am a drawer. Considering the amount of time it would take me to draw exactly what I want, I might as well sculpt it. I paint most of it too. It's incredibly time consuming so I end up turning down a lot of jobs I want to do."

"'You should only alienate folks when you mean and want to do it. [...] It should never be an accident.'"

"In a weird way I must have loved my little collection of hurts and wounds. They provided me with some real nice sympathy, with the feeling I was exceptional."

"I didn't know what to think, but what I felt was magnetic and so big it ached like the moon had entered my chest and filled it up. The only thing I could compare it to was the feeling I got one time when I walked from the peach stand and saw the sun spreading across the late afternoon, setting the top of the orchard on fire while darkness collected underneath. Silence had hovered over my head, beauty multiplying in the air, the trees so transparent I felt like I could see through to something pure inside them. My chest ached then, too, this very same way."

"Where had I been that I didn't know about imaginary friends? I could see the point of it. How a lost part of yourself steps out and reminds you who you could be with a little work."

"There is nothing perfect. There is only life."

"Stories have to be told or they die, and when they die, we can’t remember who we are or why we’re here."

"People who think dying is the worst thing don't know a thing about life."

"We walked along the river with the words streaming behind us like ribbons in the night."

"And I was struck all at once how life was out there going through its regular courses, and I was suspended, waiting, caught in a terrible crevice between living my life and not living it."

"It was the oldest sound there was. Souls flying away."

"When it's time to die, go ahead and die, and when it's time to live, live. Don't sort-of-maybe live, but live like you're going all out, like you're not afraid."

"It is the peculiar nature of the world to go on spinning no matter what sort of heartbreak is happening."

"Her people were great travelers once, going from district to district to perform their music. Tam Amber remembers it, as he was about my age when the war ended and the Peacekeepers rounded up the Covey, killing all the adults and confining the kids to our district."

"...I'm grateful for her final gift. That she's denied Plutarch the chance to broadcast our farewell. The moment our hearts shattered? It belongs to us."

"They will not use our tears for their entertainment."