Interview Magazine: The Crystal Ball of Pop
“In order to be able to push any artist to an extreme,” says the director Danya Tamor, “you get the best results by earning their trust first.” It’s a philosophy that’s proven particularly useful in Taymor’s latest effort: the muscular and ambitious musical adaptation of S.E. Hinton’s seminal coming-of-age novel, which opens on Broadway’s Bernard B. Jacobs Theater tonight.
TAYMOR: I started at this little theater called The Flea, and I was doing a play about two sisters in Colorado. I had these great, very New York City actresses. I was like, “We’ve got to get in our bodies if they’re going to feel like they live on this farm where they’re crutching sheep asses.” So I started doing a physical warm-up. And because they played sisters, I thought, “These girls who are not related need to really know each other.
JOLIE: The moment last night, where they come off stage and they see you and they have such a big smile and they hug you, it’s such a beautiful relationship. This material needed it. I think that’s why it’s so successful, because everybody’s so deeply truthful up there. JOLIE: It’s your first musical. I know you study a lot and you’re smart with who you surround yourself with, but there must’ve been times you felt a bit daunted or unsure. Were there particular areas you felt you had to give extra focus?
TAYMOR: And to your point about when edits happen, in theater your edit happens live, in front of people, which is excruciating but amazing. It’s a different job than directing a film, because in a film, you want to get everything you possibly can, and then later you’ll decide how it all works together and what the rhythm of it is. You may have hunches, but that could change. In the theater, and especially in a musical, you have so much and so little control.
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