James Polshek Quotes
I went into architecture a little as 'Peck's Bad Boy.' It allowed me to be a critic in a socially condoned way.
Quotes to Explore
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In my memoir, I admit that I've been as fearful of success as of failure. In fact, when 'Passages' was published, I so dreaded bad reviews that I ran away to Italy with a girlfriend and our children to hide out.
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I wanted very much to be Miles Davis when I was a boy, but without the practice. It just looked like an endless road.
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When I was a young boy, I was obsessed with skulls and mummies and things like that.
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In uniform, I had to make judgments about the best course of action in combat when the only choices were 'bad' or 'worse.' As a member of the media, I only had to decide how to get the best 'shot' - preferably without getting shot.
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I don't care for the music when they're talking bad about women because I think women are God's greatest gift to the planet - I just like music.
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There are few things that we so unwillingly give up, even in advanced age, as the supposition that we still have the power of ingratiating ourselves with the fair sex.
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Through all the bad guys that I've played, they're justifiably bad - they have their reasons. It's been important to me.
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At 14, I'd have given my left arm to be a boy: I thought I was horrible and that no-one would ever find me attractive.
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Every other year, I was the new boy. I found that the only way to survive was to embrace it, make a little fortress on the outside and to pretend to blend in but not to invest too much because you'll be somewhere else next year.
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One of the things that always was Fall Out Boy was trying new things and kind of pushing ourselves in different directions.
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The terrifying and edible beauty of Art Nouveau architecture.
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I purposefully try to make films in that grey area, where things are morally ambiguous. It's like life: good people do horrible things, and bad people do good things, and there's beauty in horror and horror in beauty.
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If architecture is frozen music then music must be liquid architecture.
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This may sound trite, but bad things happen to good people, and when you're facing terrorism, natural disaster, you can have every wonderful plan in place, but I am a realist.
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You have good days and bad days.
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In L.A., it's easy to get wrapped up in this young Hollywood mess. You feel like you have to go out every night. You have to realize that you're here to work. I didn't move out here to party all the time.
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The development of the New Architecture encountered serious obstacles at a very early stage of its development. Conflicting theories and the dogmas enunciated in architects' personal manifestos all helped to confuse the main issue.
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Back when I was growing up, getting caught with a copy of 'Creepy,' 'Eerie' or 'Vampirella' was almost as bad as your parents finding out you were reading 'Playboy.'
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People do bad things, but that doesn't mean they don't have other colors or qualities.
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I've seen many shows ruined by bad reviews and good reviews, so I always tell my actors not to read the reviews until after the run is over.
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With the second record (2012's Anxiety), I was quite jaded, and exhausted, and tired. With this third record, I feel that I've come full circle. I had gotten to the absolute pinnacle of how bad someone could feel.
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It's the gap in the teeth. My friends say I look like Shrek - some of my friends - and you can't choose your friends, so what can I say?
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I make the majority of my money from Patron, but my passion is with Paul Mitchell: I spend 85 per cent of my time on it.
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I went into architecture a little as 'Peck's Bad Boy.' It allowed me to be a critic in a socially condoned way.
