A Quote by Asher Keddie

I often have 15 to 16 hour days and I have two young children, both with different needs at seven years and 16 months. — © Asher Keddie
I often have 15 to 16 hour days and I have two young children, both with different needs at seven years and 16 months.
I won two ITF tournaments in Japan in two weeks. I had to qualify for both of them, which meant that I won 16 matches in 15 days.
Pace judgement is everything in the hour record. If you can ride 16.1 or 16.2-second laps constantly for 221 laps, and not go 15.9s or 16.4s, it's keeping it on the line every lap, lap after lap.
Each film is different. Time Code was very quick - a matter of months. Miss Julie has been on my shelf as a script for some seven or eight years. But then the shooting process was very quick - 16 days.
When I was 14, I used to have a calendar on my wall, crossing the days off until I was 15, because the school leaving age was 15. Then three months before I turned 15 they changed the leaving age to 16.
When I was 14 I used to have a calendar on my wall, crossing the days off until I was 15, because the school leaving age was 15. Then three months before I turned 15 they changed the leaving age to 16.
I studied with a blind teacher from about 5 until I was 16, at two different schools. From the age of 12 until 16, I was in a boarding school-which, I believe, at that time was compulsory for blind children.
For a young kid to be expected at 15, 16, 17 years old to know what to do - it's hard. It's a tough ask.
The ages two to 15 I spent at different stages of shortness. I didn't become a tall person until I was 16.
What happened was like any guy on the indie scene - I've been wrestling for 16 years; everybody thinks I'm this new, young. I'm like, 'I'm 32. I've been at it for 16 years. I just couldn't get to the next level.'
I don't consider myself a particularly young chess player. I have been playing in the best tournaments in the world since I was 16 years old. In other sports, if you have been playing for seven years, you are not a young prodigy any more. You're one of the pros.
I was a big Who fan when I was 15, 16 years old, and I used to go watch them play at the Marquee Club in London as often as I could.
I came from a socially deprived background when I was 15, 16 years old, but one thing I knew was one - you don't abuse a policeman, and two - you don't steal things.
When I was 15, 16, 17 years old, I spent five hours a day juggling, and I probably spent six hours a day seriously listening to music. And if I were 16 now, I would put that time into playing video games.
I usually work 16-hour days.
I'm not going to say I'm not a fan, but I'm a fan of house music, essentially, and kind of indie, and I was always into the kind of sub-pop Seattle Mud Honey and Pearl Jam kind of sound. But my kind of big love was house music ever since I was 15/16, going to raves when I was 15 or 16 years old and not going to school, like a naughty boy.
There were obvious budgetary and time constraint differences. With Jamie Marks is Dead, we were operating on a pretty small finance level. So it was definitely run-and-gun, 16-hour days, every day. I would come back, and I was so exhausted I would fall asleep in my clothes. Obviously, with The Giver we had a little bit more time to take the full three months. So that was different, but in both there was still a creative environment, and by that I mean that it was still collaborative, performance was still valued, and it wasn't lost in the money.
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