My mother at the age of 65 decided she was going to run for mayor. She had never run for public office, and she decided she wanted to try and do some things for the community.
I really just wanted to be a writer, but people tell you, 'You should have a backup career,' so I thought, 'OK, I'll act.' That was the foolishness of my vision for my life - that my backup career would be completely undependable.
And my interest in history was, and remains, very strong: what I wanted was to understand certain things better by understanding them psychoanalytically.
For 'Jeremiah Johnson,' nobody wanted to make that film. I went to Sydney Pollack, and I said, 'Sydney, I live in the mountains, and I would like to make a film about a person that had to exist in the mountains and survive in the mountains.'
I grew up very much in a sporting background. I always wanted to be an actor, but my escapism always came in sports.
What the United States wanted in Guatemala - and in Iran, where the C.I.A. also deposed a government in the early 1950s - was pro-American stability.
I wanted to come back with the team I grew up with.
Many writers can't make a living. So to be able to teach how to write is valuable to them. But I don't really know about its value to the student. I don't mean it's useless. But I wouldn't have wanted anyone to teach me how to write.
I tried singing. I tried playing a musical instrument. I really wanted to be a musician, but I never could quite pull that off. I liked entertaining, but I was always drawn to some kind of technical work - some kind of honest labor.
I was thinking of going to London drama schools or to New York, because France didn't accommodate the things I wanted to do in film.
I've always listened to country music. I wanted Hootie to become a country band at first, but I was outvoted.
In the spring of 1929, I returned to the United States. I was homesick for this country. I had learned in my student days a great deal about the new physics. I wanted to pursue this myself, to explain it, and to foster its cultivation.
I was fortunate to have had a lively, happy childhood, but somewhere along the way I convinced myself I wasn't wanted anywhere or by anyone if I wasn't thin.
I always wanted to be tall, but I'm not, OK?
I wore a $30 vintage wedding dress for my 8th birthday in an underground jazz club in Seattle. This was what I wanted.
To be an English person in my 20s, doing a Broadway show - it's one of the mountains I wanted to climb.
I didn't really have an identity crisis because I really, really knew who I always wanted to be But I definitely had a lot of problems with my body. I was very skinny, and I guess my body was sort of pre-pubescent, but when I grew hips and thighs, I just didn't know where I was in the world. It was weird.
I didn't try to think what my audience wanted and then make the music accordingly. I made the music and hoped that as many people liked it as possible.
Dore Schary was then head of the studio and he wanted to change my name.
When I was shopping around trying to get signed, I made it a point to say, 'This is who I am.' I dress the way I normally dress, and I just wanted to find a label that would accept me for that.
To be at acting school, it was kind of the first time you felt the freedom to be as much of yourself as you wanted. People weren't going to judge you.
All I wanted to do was read, to be told stories. Stories were full of excitement and emotions and characters that entertained and often inspired.
When we made 'Toy Story,' journalists were more interested in talking about the technique because it was so new and unknown, and we just wanted to talk about the story.
To me the thing with 'Grease' was that it was the first movie that as a kid I wanted to get up and do what they were doing.
I have always wanted to do a feature film that brings the world of Lisa Frank to life. We have so much backstory on our characters, and they have been alive in my imagination since the beginning.
I grew up in a small town where everyone wanted to be the same or look the same and was afraid to be different.
I grew up, until age 6, in Chicago. My parents rented their apartment and, at the end of the Depression, my parents wanted to replicate that situation. So, again, we lived in a somewhat suburban setting outside of New York City, and again, they rented.
Singing rock n' roll - they called it singing for the devil. But we all wanted an opportunity to compete in the music industry, and that was the opportunity.
The year 1983 was crazy. People wanted to sell not only their investments... but also their companies.
I was always one of those fortunate people who never wanted to be anything other than a singer and an actor. Most people know me as a singer, but I am also an actor.
I didn't want wrestling anymore; I wanted to not want it. But I couldn't get a job anywhere, which was part of the reason I was homeless. I couldn't get a job pumping gas. I couldn't get a job working at a warehouse, I couldn't get a job at Baskin Robbins, I couldn't get a job anywhere.
I did a lot of freelance desk publishing jobs when I graduated from college. I sort of earned a living doing that while I was writing plays, which was what I wanted to do. My hope was to become a playwright.
When I watch movies with my kid like 'Shrek,' I'm like, 'Wow, this is pretty funny.' That's why I wanted to start doing movies like that - so my kid would laugh at my jokes.
My mom told me to do whatever I wanted to do and don't get too anxious about it.
Mike Brown wanted to hire me to work with LeBron in player development.
I've always wanted to work for Walt Disney. That's what I thought I was going to do when I grew up.
