Jim Hodges Quotes

I try something new every night. It's an hour show; if it works I maybe try it a few more times and then move that off and try something new. It's a great workshop for me.

Iteration, not ideation, is the most important part of early stage entrepreneurship. You have to have a lot of ideas - a lot of bad ideas - if you want to end up with a good one.

Design is an iterative process. One idea often builds on another.

Sometimes I do that quite a lot, go back and forth a lot between ideas. Try things out.

Arts and sciences are not cast in a mould, but are found and perfected by degrees, by often handling and polishing.

With every project I've ever done, I've always treated it like I'm still in school. Each time you try to go a little further, get a little deeper, feel a little more, sculpt it a little better.

But usually I begin things through a drawing, so a lot of things are worked out in the drawing. But even then, I still allow for and want to make changes.

Usually, if you have a new idea, you very rarely break through to anything like recognizable development or implementation of that idea the first time around - it takes two or three goes for the research community to return to the topic.

If you want creative workers, give them enough time to play.

At the start of the process the idea is just a thought - very fragile and exclusive. When the first physical manifestation is created everything changes. It is no longer exclusive, now it involves a lot of people.

I have fun with ideas; I play with them.

I always treat each take as a rehearsal for the next take. That way you can find stuff and keep adding and playing until they tell me to stop.

Nothing is invented and perfected at the same time.

Most intuitive ideas have to be clarified, so there is a trial and error process.

You work on an idea, your first interpretation is very raw and you work it and you work it and it gets polished and polished. It gets to a certain level and then it comes down off that peak.

Good and bad ideas both come from the same fountain of speculation and experiment.

Everything for me starts very small and snowballs. So I rarely start with the grand idea and find a place for it and narrow down. It's, really, just start small, and as I'm writing it, I begin to see - sometimes to my own surprise - what's unfolding and what's blooming.

There is something about a theatre room that is really like a laboratory for trying things and failing, because you have time to do that, and you can explore something deeply and discard it if it's not working.

I will play around with an idea for a very long time until it's found it's feet and it's good enough to become a song.

Give the composer time to experiment, time to try out ideas. Also, the time to fail. When the composer has very little time, the temptation is to reach for stock ideas - ideas they know will work and have worked in the past.

Creativity has to start somewhere, and we are true believers in the power of bracing, candid feedback, and the iterative process - reworking, reworking, and reworking again until a flawed story finds its through line or a hollow character finds its soul.

My initial ideas are just a starting place. As a record goes along, it becomes more about making discoveries and getting excited about new songs.

There’s never a wrong idea. You just keep throwing stuff out and inevitably there are elements of different things that inspire a character or environment.

I don't have any particular recipe. It is the reason why doing research is challenging as well as attractive. It is like being lost in a jungle and trying to use all the knowledge that you can gather to come up with some new tricks, and with some luck, you might find a way out.

A lot of the qualities in 'Killing and Dying' is sort of a response to work I'd done previously. I wanted to push myself in some different directions.