"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"
About this Quote
Taymor is smuggling a quiet rebuke into what sounds like gratitude: Western culture, especially in commercial theater and film, worships the shiny finished thing and treats everything else as expendable labor. By crediting Japan with teaching her “respect for the art of creating,” she shifts prestige away from premieres and reviews and back onto rehearsal rooms, workshops, craft traditions, and the patience it takes to fail well. The key move is doubling “art”: not just art as object, but art as method. That’s a director talking about power.
The subtext lands hardest in the line “We’re all about the product.” It’s a collective “we” that indicts an entire ecosystem: investors who want certainty, marketing that demands an easy hook, audiences trained to consume results rather than witness making. Taymor’s career - staging visually dense, handcrafted worlds that fuse puppetry, mask, movement, and myth - sits in tension with that system. Her breakthrough successes still had to survive the brutal math of Broadway and studio expectations. This quote reads like her argument for why those worlds can’t be rushed or reduced to a pitch deck.
Japan functions here as more than a travel anecdote; it’s shorthand for disciplines where process is visible and honored, where mastery is incremental, communal, and ritualized. She’s not romanticizing “the East” so much as pointing to a different value structure: the process isn’t a means to an end, it’s part of “the total form.” The intent is clear: if you judge only outcomes, you misunderstand the work.
The subtext lands hardest in the line “We’re all about the product.” It’s a collective “we” that indicts an entire ecosystem: investors who want certainty, marketing that demands an easy hook, audiences trained to consume results rather than witness making. Taymor’s career - staging visually dense, handcrafted worlds that fuse puppetry, mask, movement, and myth - sits in tension with that system. Her breakthrough successes still had to survive the brutal math of Broadway and studio expectations. This quote reads like her argument for why those worlds can’t be rushed or reduced to a pitch deck.
Japan functions here as more than a travel anecdote; it’s shorthand for disciplines where process is visible and honored, where mastery is incremental, communal, and ritualized. She’s not romanticizing “the East” so much as pointing to a different value structure: the process isn’t a means to an end, it’s part of “the total form.” The intent is clear: if you judge only outcomes, you misunderstand the work.
Quote Details
| Topic | Art |
|---|---|
| Source | Help us find the source |
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