When I was 4 or 5 and I could put complete thoughts together and really feel them, I remember watching the Grammy's or something like that and getting real emotional because I wanted to be up there.
I wanted control over the merchandising, the actual packaging of the product. That was a big factor. The only way for me to exercise control on all those levels was to start my own label.
I always wanted to create this community that would come and tell their own story, shoot it - and watch them. The idea is to not have one entity who creates the work, the project, and another entity who consumes it; the idea is people create their own work, like somebody cultivating his garden.
I've always wanted to be a brooding, deep, dark artist, but I can never keep that facade going for more than 15 minutes.
It'll be basically a live album, but it will also include songs, Judas Priest songs, the audience have never heard before, because we felt we wanted to give the kids something else, something they haven't already bought.
All I ever wanted to do was play the drums; I felt good about myself when I played the drums. So I worked anywhere and everywhere I could lug my drums in.
Once I even took the train to Utrecht, forty miles from Amsterdam, with my yellow star, this star which I still have. Why did I go? I just wanted to visit some friends. I was a little bit crazy, a little bit insane.
Of course, there are benefits to having prosthetics. I can make myself as tall as I want. I can wear flip-flops in the snow if I wanted to. There's benefits.
I have a stack of scripts that I've read - I'm in the lucky position where I get offered things - but I haven't wanted to direct many of them.
Coming off 'Reflection,' what we really wanted to do was be more vulnerable.
I've definitely had my share of calls where I just laugh. Someone came to me once and wanted to do a signature Hawk cologne. I was like, 'Of what? Sweaty pads? Am I wringing out my pads into a little perfume bottle?'
I have been a depressed kid. I wanted to lead a quiet life, never wanted to be an actor.
I didn't want to be a comedian. I wanted to be an actor - maybe a comic actor, but a real actor - by real, I mean not a comedian. I wanted to be an actor.
I was lucky enough to know exactly what I wanted to do when I was growing up. I think one of the hardest things to figure out in life is what your calling is, and what truly makes you happy - not what you want to work at, but what you want to do.
When I was seven and told my mom, 'I'm gonna be a writer,' she said, 'Oh, that's a terrible idea. You'll live in misery and die teaching other people's children badly.' My parents wanted the safer path for me, and I think they failed miserably achieving that.
I was invincible, at least that's what I wanted you to think, and I wanted me to think it, too.
I guess he wanted to see a little more sexual activity because in real life, in bed I think less is more and let the woman come to me. Frankly, I don't even need a woman there.
Westerns was why I got into the business. I grew up on a small farm in California and all I ever wanted to do was to play gangsters and cowboys in movies.
When I started my own business, my main reason for designing clothes was that I wanted to dress rock stars and the people who went to rock concerts. It didn't go beyond that aspiration at that point.
I was making crappy beats since I was, like, 17 or 18, using Florida rappers, where I'm from. Then I started DJ'ing because I just wanted to have a new job.
A lot of folks are still demanding more evidence before they actually consider Iraq a threat. For example, France wants more evidence. And you know I'm thinking, the last time France wanted more evidence they rolled right through Paris with the German flag.
I wanted the press to become something of a movement. Not a movement committed to a particular 'ism', but a gathering together of writers with an aesthetic approach to literature and with a lust for excellence.
I came to London. I spent nine months doing domestic work and gardening because I knew I wanted to get a West End show. So, when I was offered jobs in Stoke or Leicester or whatever, I'd say no. Eventually, I got 'Godspell.' It was gently building.
I've always wanted to do a shoot with snakes - big snakes, like pythons.
I didn't go to L.A. because I wanted to move to California. I went to L.A. to work as an actor.
I wanted to be grown up the minute I could.
I went to high school in Texas for one year, my senior year. My parents wanted me to get out of Stockholm because I was running with the wrong crew. They wanted me to get back to my roots.
I wanted people to see that I really am a real person. I'm not just some guy who was on a TV show, some guy engulfed in the Hollywood life. I'm just a normal guy when it comes down to it.
I knew I wanted to act, and I was really driven, so I kept going for it. We moved to L.A. full-time when I was 8 or 9.
After I lost my legs, all I wanted to do was snowboard again. I remember spending an entire year on the computer, looking for 'adaptive snowboarders' or 'snowboard legs' or 'adaptive snowboard schools' or just something that I could connect to. I already knew how to snowboard - I just needed to find the right legs.
I always wanted children, to be a dad. That was as important to me as being an actor.
I wanted to get through high school anonymously.
Both my mother and father were very supportive of any career move any of us wanted to make.
My mom and I have always been very close. She is my best friend. She had to make a lot of sacrifices early on in my life to make sure I got to do what I wanted to do.
They thought we were going to hurt the game, but we just wanted to help ourselves, because the players needed to get together to protect their interests.
I wanted to write a book like a rapper would write it - I didn't want to hold back. Rappers catch a lot of slack; I'm not going to be cursing up a storm, but when I look at Nas... his first album is one of my favorites. I want to tell stories like that.
