A Quote by James Haskell

I wanted to play Super 15. I wanted to develop some maturity, some leadership and to work on my skill set. Also I want to have played all round the world. — © James Haskell
I wanted to play Super 15. I wanted to develop some maturity, some leadership and to work on my skill set. Also I want to have played all round the world.
I wanted to go and I wanted to drive the miles for no pay, I wanted to set up the rings, I wanted to set up the chairs, I wanted to go to training six-seven days a week for hours upon hours and blow myself up to where I can only work on instinct. I wanted to sleep in my car. I wanted to do all of that.
I got a drum set at the age of four. I wasn't playing that well, just kind of banging around. I just wanted to play drums and my dad got me a set. I played for several years, but I wasn't meant to be a drummer, I guess. I can play drums on my own things - obviously on some of my own records I play drums. But I didn't start playing guitar until I was 11.
When I was a teenager, I wanted to be in a group, or I wanted to work for Greenpeace, or I wanted to be a Buddhist monk. Those were the only three things I really wanted to do. I was doing some sort of soul searching in life.
I never wanted to just press play on some DJ set and let the lights do all the work. I value old-fashioned performance a little more than that.
All I wanted to do was be a professional film director with a body of work, and you're going to make some good films, some bad and some indifferent. You don't set out to make a dog, you set out to make something good. But I like them all.
I wanted to be different and original but still have it be something my fans could get into. There also are some big, beautiful ballads. I told my producers that I wanted tracks that are going to blow up in the clubs, but I also wanted songs that were very melodic and with a lot of instrumentation.
It was very challenging in terms of making sure that everyone is distinct. Also, we wanted to have some Asian influences as well, so that it really is a mashup. We want evidence of our presence in this world, so you'll see there's an interest in technology, that there are not complex electronics. There's electricity in this world, but computers, circuits don't work.
The pleasure of work is open to anyone who can develop some specialised skill, provided that he can get satisfaction from the exercise of his skill without demanding universal applause.
I knew what real instruments I wanted and, in some cases, who I wanted to play them. I had started listening to a lot of ambient music and jazz and I wanted to incorporate stuff like that, too.
Some people wanted to get rich or famous, but my friends and I wanted to get real. We wanted to get deep. (Also, I suppose, we wanted to get laid.)
My father encouraged me to work in the library, just because it was the world that he knew. But I also wanted to do it. I also wanted to work in the library and be part of the library somehow, because it represented a world that really wasn't represented in my home, and I wanted it to be.
I wanted to show off - a simple impulse or drive; in much the same way as some kids wanted to play football, I wanted to show off. Not complicated in that sense, very natural; it just depends on how you want to show off.
I had wanted to make a film about World War II for some time, but I didn't really want to do something that was set in the trenches, so to speak.
I always wanted to play a monster, and I also wanted to work with Wes Craven.
I started in the kitchen of a Holiday Inn in Birmingham. I wanted to be a sponge, wanted to learn and progress. I knew I didn't want to work in a hotel forever, but I had some good teachers there.
There were probably a few games I played where I should not have played, because of some nagging injuries or something. I used to always talk the managers into playing me, because I wanted to play so badly.
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