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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In my business, you should be very strong in mind. You have to be sure about yourself and about your work and your career, and you have to be strong inside because so many people come around and try to say bad things about you.
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All the guys on 'Breaking Bad' are really gentle and gorgeous creatures.
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I was very shy, but when I performed, I felt like I was in my own little world. I became more confident. Dancing taught me discipline and to feel comfortable in my own skin.
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Not one has shown an iota of fear of death. They want to end this agony.
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People want to imagine that I have this amazing life. That I never change nappies, unload the dishwasher or have to wait in for the plumber, and that's OK, but the reality is I do do all these things!
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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.
