John Wozniak Quotes

What's really hard is that you could care a lot for someone and not want to live with him anymore.

Frank Gehry not only understood my sense of fun and adventure but also reciprocated it and translated that feeling into his work.

I had no problem with Ritchie. Ritchie and I never argued. We never had a problem. I think I was always able to write the things that he wanted - until he decided he wanted to be a pop star. And then he started doing pop music. And once he did that, that was the end for me.

It is not the how of painting but the why. To imitate a style would be a little like teaching a tone of voice or a personality.

What has made it work, or what makes certain paintings successful or not, has to do with my being a painter and a thinking, feeling person, more than my sex, color, height, origin.

I only do what I do. For me, it is a craft. It's got to be my own thing - otherwise, I would never be successful. I could easily go to the archives and pull 1987 or 1991 collection by Calvin Klein. But when you look in there, you realize that it was never about one piece. It was about the collections as bodies of work.

I was divorced from Dr. Woodhull for reasons which to me were sufficient, but I was never his enemy.

The most true-love words are not the ones that grasp and hold and bind you, twisting you both up together in some black dance. No, they are ones that leave you free to stand alone on your own solid ground, leave him to do the same, a tender space between you.

I don't want to direct a movie as good as Antonioni, or Kubrick, or Polanski, or whoever. I want it to be my own. I think I've got the seed of it and, what's more, that I can make movies that are different and informed by my taste.

Someday my paintings will be hanging in the Louvre. [Vincent Van Gogh]

It's very important that you never depend on money to fulfill your creative vision. If you do that, you're doomed to fail.

A lot of producers always say "what direction are you going in?" and I don't know. I'm just doing music. Right now it's going well. It's a little slow, but it's expected because I haven't been in the studio for a minute.

I am very determined when it comes to my music, and I grew up just loving those singers who had that urban sort of feeling. So when it came down to making my record, I wanted to have that as well. ForeFront was really good about letting me go in that direction and then of course adding the more pop sounds. I feel very fortunate that I got to explore some unique and creative angles musically.

I like to direct the same way that I like to be directed.

Why I'm not where you are ...

To contest an author's right to create a poetic or realistic work is to want to force him to change his temperament, challenge his originality, refuse to allow him to use the eye and the intelligence nature has given him.

Michelangelo is a constructor, and Rafael an artist who, great as he is, is always limited by the model. When he tries to be thoughtful he falls below the niveau of his great rival.

True love allows each person to follow his or her own path, aware that doing so can never drive them apart.

As the director, you're meant to be critical and you are, so there are loads of things. But the thing is, the way I look at it is, to try to get some measure of success, it's dangerous to look at financial or critical success, or positive response as a measure.

Choose a friend as thou dost a wife, till death separate you.

There are many stories of people didn't set out to make a film that became a classic - the whole process was a disaster, everybody hated each other, the movie itself was a disaster, everybody thought the movie and the script was going to be a piece of crap. Look at Alfred Hitchcock and Psycho. Nobody wanted to make Psycho; it was crap to them. The only person that wanted to make Psycho was Hitchcock. Now, it's considered a classic and a work of art.

The True Artist has the planet for his pedestal; the adventurer, after years of strife, has nothing broader than his shoes.

Part of me aches at the thought of her being so close yet so untouchable, but her story and mine are different now. It wasn't easy for me to accept this simple truth, because there was a time when our stories were the same, but that was six years and two lifetimes ago.

I've explored a variety of directions and themes over the years. But I think in my painting you can see the signature of one artist, the work of one wrist.

Not so much two ships passing in the night as two ships sailing together for a time but always bound for different ports.