No doubt that the theater, opera, and film director is both a genius and a handful. Julie Taymor was recently replaced as director of Broadway’s Spider-Man: Turn Off the Dark after the accident-plagued musical became known as the most expensive production in the history of The Great White Way. She also has fought with almost every producer of her movies. The main problem has been that no one wants to give her the same free rein with her creativity that Disney did when she brought The Lion King to the stage in 1997 in a stunning production that continues to play around the world to this day. Her first feature film, Titus, was a startling reinterpretation of Shakespeare’s Titus Andronicus, her Frida received six Oscar nominations, her Across the Universe starred U2 lead singer Bono (with whom she collaborated on Spider-Man), and her film version of Shakespeare’s The Tempest cast Helen Mirren in the role of the sorcerer Prospero usually played by a male actor. There’s probably an Oscar with Taymor’s name on it in the future, but only if ICM’s Jeff Berg can help her to function within Hollywood’s constraints.
Editor-in-Chief Nikki Finke - tip her here.


As a former ICM’er it’s great to see that there are still a few amazing film agents at ICM like Berg, Howard, Burnham, and Yablans. Every movie client that Chris Silbermann and Nicole Clemens touch, on the other hand, ends in the client defecting. Like Ben Barnes, Stephen Moyer, Len Wiseman, Paul WS Anderson, and soooo many others who have left. Anyway, kudos ICM and Jeff Berg. Bring the agency back to the glory days.
Jeff’s gotta tell her that she’s not a white man.
Hope they start on something small.
There is no doubt Julie is talented, but the costs to fulfill her vision for Spider-Man “Turn Off the Dark”
combined with her control of the entire project…will be certainly ‘cautionary” red flags as she goes forward.
Seriously, I do wish Julie well, and hope Jeff helps her to regain her touch.
They’re perfect for each other. They even look like each other.
wow, great call!!! she is the female version of the iceberg. it’s uncanny.
Taymor is NO “genius.” She’s talented, but no more so than hundreds of other puppeteers and designers. She needs to climb back in the trenches and stop being so arrogant.
There’s a difference between genius and an inflated ego.
Nikki it’s nice to see you mount an impassioned defense of an original filmmaker, but c’mon — Taymor may or may not be an artistic genius but she CERTAINLY is a genius at losing money (a lot of money) with her films:
TITUS
production budget: $20,000,000.00
domestic b.o: barely cracked 2 million
THE TEMPTEST
production budget: $20,000,000.00
domestic b.o.: 300K (yes, thousand)
ACROSS THE UNIVERSE
production budget: $45,000,000.00 (+ VERY aggressive/expensive marketing campaign)
domesitc b.o.: $29,000,000.00
Of course we don’t need to bring up the most expensive debacle in Broadway history that is currently at the top of her resume.
Looks like Berg wants to burnish the artistic cred of his roster somewhat, fine, but Taymor’s films have a financial track record that speaks for itself.
FYI ” Across the Universe” cost $68,000,000, which was it’s original budget. Though Julie was uncompromising, difficult and sometimes brilliant, the film did come in on budget. Did not make much money, though has done very well on video with a strong following after its theatrical run. Also, the soundtrack was on the iTunes top soundtrack list for 3 years.
this is the first time i’ve seen a signing announced with a specific agent rather than the agency. what does that say about ICM? it’s embarrassing.
She didn’t actually have “free rein” when she was developing the stage version of Lion King. Disney had producers who worked with her. Sure, she was given the creative freedom to create some truly wonderful elements, but Disney honchos were right over her shoulder. Remember, up until that time she hadn’t directed a successful show on Broadway and Lion King was Disney’s most successful animated film. They watched her like a hawk, and any studio or producer who hires her will have to do the same.
Alas, Julie Taymor is not, in fact, a genius. I worked extensively with her in NY theater and soon discovered her to be an over-rated self-promoting hack. No new ideas, a complete inability to communicate with people on her creative team, and a tendency to retreat into why’s-everybody-mad-at-me land. Maybe ICM could get her a job as a showrunner on a network show: she’d be perfect.
I Love this comment!!! Thank you for the honesty.
The Lion King was successful due to Rob Minkoff, Disney’s most successful animated movie ever. Julie takes over the concept on Broadway does not screw it up and she is a genius? She lived off the back of the films success and the Disney marketing team. The rest of her movies have been awful. She even screwed up the Beatles. How can you miss fire on the Beatles? Good luck Jeff Berg, you were a smart man once but this is going to be a tough hill to climb be nice to see it all work out.
Oscar? Come on Nikki…
It’s inaccurate to suggest that Taymor’s ACROSS THE UNIVERSE “starred” Bono; his on-screen role and involvement with the picture was minor at best.
“The main problem has been that no one wants to give her the same free rein with her creativity that Disney did when she brought The Lion King to the stage in 1997″
That’s not true. Tony Adams was a seasoned producer and would have balanced her vision with fiscally responsible decisions for a show on this scale. When David Garfinkle took over (waaayyy over his head on a project this ambitious), she had her way on almost everything which lead to the notorious budget ballooning to an almost beyond-possible recoup schedule.
She has big ideas, but continually suffers from a failure to hone them into tangibly whole artistic experiences. Worse, after her success with The Lion King, she’s failed to take advice from the people who used to balance those weaknesses with their input.
BTW Julie, part of what makes Spielberg great is that he’s a great collaborator.
Oh My – Jeff my heart goes out to you.
All the pain drama failure and puppets.
Lady Jane thanks for the figures. I full well understand the idea that Taymor is a prize catch. After all she’s critically lauded. But those figures speak for themselves.
What has happened here? I love artistic reaching in films but not at those prices. Wanna be an artist? Think cheaply. Filmmaker Guy Maddin has an artistic bent to his films (whether you like them or not), but even he knows that he has to work within an extremely limited budget to get his vision across.
Somewhere along the way, Hollywood has lost it’s way. Stop rewarding consistent underperformers with budgets and before anyone says 20 or 45 million is low budget, sorry it isn’t. That kind of money could produce 10, 20, or more films if producers held a tighter rein and thought out everything. That’s a formidable amount of money by any standard (except of course Hollywood’s warped sense of costs and worth).
Stars are too expensive? Think cheaper and create a star. Stop being beholden to outmoded thinking. CGI costs too much money? There’s a hundred years worth of tried and true techniques that seem to have been forgotten. Quit trying to create art with every frame and instead concentrate on creating a great story with every frame.
Thus endeth the lesson. Though why I bother is anyone’s guess…
Who is Guy Maddin?
It’s funny how you don’t mention the hit film “Frida.”
$20 mil is small change in Hollywood, especially with a production starring two Oscar winners, and “Titus” simply suffered from a lack of commercial appeal.
Guy Maddin is a filmmaker form Winnepeg. His films tend to look like they were shot in the early days of cinema. They’re fun when you want a break from the usual studio fare.
I didn’t mention any films, Frida among them (which I saw and enjoyed, BTW) but now that Frida has been mentioned, yes, it was a hit. Not a huge blockbuster, but a hit nonetheless). I forgot that a hit buys you a free pass on 2 or 3 box office duds. Mea Culpa.
And, yes I’m aware that 20 mil is considered small change in Hollywood, but my point was that studios should take a better look at how they spend that money. Please note that I’m not against art in cinema. Heck, Malick is my favorite director. But, with me, it’s always about money. It just kills me to see it spent the way it is in Hollywood
Anyhow, it doesn’t matter in the long run.
Question: Why?
Because Jeff needs to grab a headline?
It’s a misstatement to say that Julie Taymor had complete creative control for Lion King. During the out of town development she worked with a producing team that gave her extensive notes, the show was workshopped, the cast changed, notes were given on everything from book to music to lyrics to staging. It was actually after Lion King opened to raves on Broadway that Ms. Taymor decided she didn’t need help or development. She took credit for the work of a lot of people that helped her with Lion King, alienated them, and then said everything was her idea.
She’s always been headstrong, artistically single minded and a pain to work with but it is her unwillingness to do the work needed to create art, to toil quietly, to work in smaller venues, to take notes from anyone, to listen to her cast/crew/designers that is her downfall.
Thankfully ICM can’t get her work anyway, so this is a perfect marriage.
As one of Julie Taymor’s producers, I can say that it was a privilege to work with such a brilliant, talented and collaborative director. I believe that every actor and head of department on our film, The Tempest, felt the same way. I look forward to the great pleasure of working with her again.
Genius my foot. That is a friggin joke. Please Nikke, don’t hurt em.