Jessica Stockholder Quotes

My idea of artistry has always been 'try everything until you find out what works.'

All day long, I'm creative, and the second I get a little tired of any given medium, I just shut that area down and go to the next room. I just go do something else.

My methodology is not knowing what I'm doing and making that work for me.

I'm literally open to any medium that will have me.

Variety is very, very good. Going from medium to medium, if you get the chance to do it, from theater to television to film, which are all distinctly different, keeps me sharp. What works in one doesn't work in the other, and you have to be looking for the truth of the performance, whatever way that medium might demand.

Every actor you work with has a different method, same with the director. You have to figure out what your shared language is and how to best support each other, and also take care of yourself.

I'm just sort of making it up as I go along.

I like to experiment, and as an actress, I always thought it's good to be open about a lot of things.

I love the flexibility of saying, "Today we're making 50-foot paintings, and we're going to have to join hands and figure out how that's going to work." But in the end, it's a possibility.

To be creative, a person has to internalize the entire system that makes creativity possible. Creative individuals are remarkable for their ability to adapt to almost any situation and to make do with whatever is at hand to reach their goals.

We have a process that continually looks back to him for guidance, but it also combines that with a tremendous amount of discovery and invention, as well, because of the demands of the medium and the opportunities of the medium.

And sometimes the question that you pose or the project that you start yourself turns into something else, you know, but at least it gets you started.

Don't be too precious or attached to anything you write. Let things be malleable. For sketch writers, remember they're called sketches for a reason. They're not called oil paintings. Some of them are going to stink. You have to let them stink.

There is no single way to train, or do anything well. You have to keep thinking, keep doing things.

There's been a lot of role reversal going on in the band. The roles people have been playing for a long time will always be there, but everybody's willing to try on different outfits.

It's so much in me to want to keep experimenting all the time. It's just inherent. Therefore I keep reaching for instruments I don't particularly know how to play, and then I become excited.

When I do a take, I very often try things that I haven't planned to try to see if I can pull it off.

I consider creativity to be a more non-rational, subconscious thing. You have a relationship to your creativity - you can feed it with content, with some rational prodding and sleep and things like that, but the mechanisms by which your creativity work are largely unknown.

I played with the same band for years and years and there's a beauty to having one solid core that you keep exploring. On the other hand, it's nice to throw yourself in different situations where you find out things about your own resources.

I think with a lot of filmmakers, their first film is their best film because they had to think on their feet and solve problems with ingenuity.

Being multi-disciplined is always a good thing.

Every time I do one I feel like I've never really quite learned anything. I always find that when I'm making a film, I find it a little bit like I'm doing it for the first time.

Vince or Brad or Benicio would say, Maybe we should try this, and Guy was open to changes.

I just saw metal as another tool for me to use.

I just find things that work and embellish them.