I did what I felt that I wanted to do. Fairly selfishly. I didn't know my kids as well as I should have.
I was trying to be very at ease in this arrogant person, and very worldly, but something human came into the part. I hate to say that. I wanted to be totally worldly.
In much the same way Ip Man embodied the struggles of the Chinese people, I wanted Gong Er to represent the changing role of women.
You know what has made me the happiest I've ever been? Seeing my son and daughter graduate from college. More than wanting them to be educated, I wanted them to be nice people. To see that they have become both is just a wonderful thing.
I wanted to get out of the pictures and stay home so that I could have children.
I thought at the time that I wanted to go into institutional sales, selling stocks and bonds to institutions. In those days, which was the 1960s, the institutional salesman was making about $100,000 a year. I thought that was just an enormous amount of money.
With 'Insidious 2,' I wanted to push a potential franchise in the direction I thought it should go in.
I wasn't close to my father, but I wanted to be all my life. He had a funny sense of humor, and he laughed all the time - good and loud, like I do. He was a gay Irish gentleman and very good-looking. And he wanted to be close to me, too, but we never had much time together.
I realized that 'performing' was what I wanted to do when I did my first professional gig as a dancer with my company 'Synergy' in Canada. I was overwhelmed with how it felt to perform in front of an audience.
I wanted to become a cartoon artist, a portrait artist, and an illustrator. This was my first idea.
One guy wanted an outline of my foot. Another guy wanted locks of my hair.
I've always wanted to go to Switzerland to see what the army does with those wee red knives.
I love New York. I was sad, depressed and incredibly moved by our fellow countrymen and what they've done. I wanted to give people a chance to see something funny, have a distraction.
Obviously, it's the Lucille Balls of the world who helped make humor accessible to women and in a voice that women related to. I just wanted to continue that.
In Hitchcock's eyes the movement was dramatic, not the acting. When he wanted the audience to be moved, he moved the camera. He was a subtle human being, and he was also the best director I have ever worked with.
Whatever I'm doing, whatever comes along, this music is something that I've always wanted to do.
At school, I decided I wanted to be a director and then I went out and spent the rest of my adult life trying to be a director. It was really clear to me. So in that sense I was very lucky.
My parents are the reason I wanted to make Shakespeare available to ordinary people.
I wanted to be an inventor, whatever I thought that meant then. I guess I was thinking of Edison or maybe James Watt. Or maybe even Newton.
In music, I wanted to make sure I was innovating.
It was an experience that was exceptional. People frequently ask what it was like and it truly was inspiring. Sometimes during his lifetime, people would try and put him on a pedestal and that's not where he wanted to be, but he was really a great individual.
Yes, he wanted me to do Funny Games before, which I didn't want to do because the film was very theoretical - the way people experience violence on screen. There was very little space for fiction, it was more like a sacrifice for the actors than anything else.
When I started recording, I thought I'd be able to do all kinds of records: jazz, country, dance - and I've always wanted to do a gospel album.
Honestly, the essence of publishing hasn't changed. Since the days of the cave man carving stuff on the cave walls, people have wanted stories, and storytellers have wanted an audience. That is still the case. The changes are really a matter of format.
I wanted to earn a living wage and to see something nice about me in the 'New York Times.' I wanted my mother to be proud. I wanted all the things you want and also feel silly for wanting. I wanted readers to say they'd enjoyed something of mine - to see my photo in magazines where I'd seen photos of other writers.
I wanted to make my sophomore film as different as possible. I didn't want to be pigeonholed. I didn't want to be identifiable.
I wanted to make sure to always stay current, try to find new material and stay with the modern techniques.
I had a mild case of polio - not enough to put me in an iron lung, but enough to keep me bedridden for weeks. As I came out of it, my mom wanted to do something for me. She realized that, growing up in the city, I'd missed out on a lot of nature.
If we really wanted to be cool, and everyone in the world had Pro Tools, we could just put it up on the internet and everyone could make their own record out of it.
I didn't really decide that I wanted to be an astronaut for sure until the end of college.
Wilson thought in terms of the whole world; Harding was for America first. And, finally, whereas Wilson wanted America to exert itself nobly, Harding wanted to give it a rest.
I still use a lot of good values from growing up in the Church, and there was a sense of community. But you were also being heavily judged by people that wanted to look down on you for not being as great as they are.
The only description for Nolan in the script was that he's a very bad dresser. I put on a red windbreaker and every other ugly, ill-fitting thing I could dig out. He was potentially written as a clean-cut nerd, but I wanted a darker spin.
They had asked for me because they wanted a younger girl, but Mum asked if she could bring Kylie along because she didn't want there to be any jealously.
I am a big fan of horror movies but I had never thought that I had wanted to act in one because I don't think that actors get to do much in them. They're usually just reacting.
Journalism is a kind of profession, or craft, or racket, for people who never wanted to grow up and go out into the real world.
