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I was so scared of going back to the theatre after 'Hamlet.' I didn't know if I'd do a play again because I was afraid of the power of it.
Poland is a wildly dramatic and tragic story. It's just unbelievable what went on with those people. How they survive, I don't really know. The Germans had a particular hatred for the Poles; they really considered them subhuman Slavs, and they were very brutal to them.
I knew I was a writer; I wanted to be a writer, but I didn't know what to write.
I know a lot about writing, but I don't know much about how other industries work. I've tried to use my naivety to my advantage.
You know what my earliest memories are? Going from one burlesque town to another. My father was in burlesque.
Anyone I know who's almost died has come out of it, at least for a while, looking at things differently.
You can watch actors create their illusions, but if you don't see where they get the pigeons from, you don't really know how they're doing it.
I've had many uncanny experiences. I think it's hard to be alive and not have them. But I don't know if I can decide what that means or what they are.
I am so spoiled. I cannot watch a show where it gets interrupted for ads. I have to TiVo it and skip through the ads, because the culture of advertising is so false and phony that I just... ugh, you know?
I don't really know what it is about vampires that makes them such a powerful symbol, metaphor, whatever in people's consciousness. But I do know they're tremendously powerful. I mean, there's a vampire on 'Sesame Street.' And Count Chocula. I don't know why it's so powerful.
There are times when I am directing, and there are a couple of moments I didn't get the way I wanted, but I know I still have other angles to shoot and I have to be done by noon; I move on.
Occasionally I do things against my inner voice, but you really should go for the thing that touches you most-even if you don't quite know why it does.
We knew it was going to be difficult to get to the moon. We didn't know how difficult.
I'm delighted. I don't know of anybody who had a statue built of them while they were living. It's a great feeling.
Dad taught me everything I know. Unfortunately, he didn't teach me everything he knows.
So that's why one of my rules of parody writing is that it's gotta be funny regardless of whether you know the source material. It has to work on its own merit.
In our system, we leave questions of fact to a jury. But to render a verdict, a jury must know the law. For this, we rely upon jury instructions. Instructions are supposed to translate the law into lay terms that the jury can apply to the facts as they determine them.
When you know who your customers are, that can give you an edge on the competition.
I just can't sit still and meditate; that doesn't kind of work for me. I don't even know exactly what it means.
You know, Lincoln was funny. I don't think F.D.R. was very funny. But Lincoln was funny. Lincoln was really funny. But I think you should get elected first, and then show that you're funny.
Minnesotans know the difference between the job of satirist and the job of senator. And so do I.
I listen to NPR when I listen to the radio, but I don't listen to the radio that much. You know, I listen to Garrison Keillor, I listen to 'Prairie Home Companion.'
I don't know how many of you have been to New York, but if a building is two blocks away from anything, you can't see it.
I believe people have a right to know what's going on with their information and how it's collected, how it's stored and who gets it.
You know, I think in some kinds of ways, we are all born into stuff that gives us no choice.
We'll see if we ever do another Ministry gig again or not. I'm not saying yes or no yet. All I'm saying is I know there's no new Ministry studio CDs coming ever again. I promise.
The very first pharmaceutical commercial I ever heard was 15 seconds of the product and 45 seconds of side effects, so I know that this cannot be good for you.
Consumers have the right to know important information about the service they are choosing to purchase and/or use.
The women I draw all have the same sort of personality. I can't draw gentle girls; I only know how to draw ones who are strong-willed.
I don't want to know I'm getting older. Then I'll start to think about getting checkups and insurance. I don't want that.
I know I'm an oddball given that today 90 per cent of all human beings are extremely social, and I, for one, am a part of a profession which is not perceived to be for introverts, but I enjoy my personal space.
At readings, audience members sometimes ask if I keep writing past the two hours if I'm on a roll, but I don't. I figure that if I'm on a roll, it's partially because I know I'm about to stop.
I didn't want to be written about as a human-interest story. I didn't want to be a passing thing. You know, now we move on to the fat girl who had her stomach stapled. I didn't want to become a gimmick: the disabled model.
I don't really consider my music anything other than 'moody.' I don't know if that's a genre.
I can't be passionate about something or really give myself to something if I don't know it's a hundred percent authentic to who I am.
I grew up playing the piano, but you know, as a rebellious child, I convinced myself that I hated it.
When I first walked in to London, I was so overwhelmed by the village, the sheer volume of people. I was just so excited. You don't know what to expect. So the level of excitement was almost draining, just taking everything in. I was so exhausted after I swam because of all the excitement in the build-up.
We know there are a lot of amazing people that work for the FBI as investigators.
I know for a fact that if there's a role which I am suited for, I'll be signed on. I'll never go begging.
In the kind of films offered to me, I don't even get the role of a city-based college girl. How do I let people know I can do sophisticated, contemporary roles, too?
I think we felt like we'd done so much as young kids that we didn't know how to top ourselves. We were like, 'Is this where it ends? Is this as good as it gets? Maybe we're done. Throw in the towel.'
Back when people couldn't read, other people would take newspapers and turn them into theater so that people would know what was going on in the world. That is a powerful thing.
You don't know what's gonna happen, so you can't really plan: you can only go with it.
I don't think that they have many of the scientists who were involved in the weapons program to talk to at this time, and there were thousands of people, engineers and scientists, they know where the weapons are.
You know the most important thing the Americans did for Iraq apart from liberating the country from Saddam was helping Iraq reduce its debt. The United States worked very hard to reduce 80 percent of Iraqi debt.
It is very important that the world know that there have been 500 years of peaceful coexistence in Turkey between the Jews and Moslems.
You know what I'd really like to do? I'd like to record some white Chicago jazz.
Flashy people aren't everything, you know. Even when they have frizzled hair.
One of these days in the next 10 years, I will play 'Evita.' I don't know when or where, but I love 'Evita', especially with all my Latin and Spanish studies. It's a very demanding role but I'd love to play it.
I actually prefer film to TV, but I don't know why. I think there's just a different energy.
I, schooled in misery, know many purifying rites, and I know where speech is proper and where silence.
A doubtful friend is worse than a certain enemy. Let a man be one thing or the other, and we then know how to meet him.
I know a lot of people who make records, and when you meet them, it's not their personality or they're not what you're expecting. But El-P is exactly what you'd expect.
When I record in a studio. I know that on Tuesday at 3 o'clock I've got to go be creative.
Mark my words, even if I sell out a club of 15,000 with all girls, I'm not taking my shirt off. I'm sorry. I know y'all are waiting to see the pasty stomach and everything.
Any material may be used but the theme is the same and the response is the same for all artwork... we all have the same concern, but the artist must know exactly what the experience is. He must pursue the truth relentlessly.
I joined another circle and the leader gave us a little leaflet in very small print, asking us to read it carefully and then come prepared to ask questions. It was a technical Marxist subject and I did not understand it nor did I know what questions to ask.
I was not raised with films. And when Alain Resnais did the editing on my first film, he said, 'You should go to the Cinematheque.' I didn't even know we had one in Paris.
I can spot empty flattery and know exactly where I stand. In the end it's really only my own approval or disapproval that means anything.
A lot of stuff written about me is rubbish. I don't know where they get it from, sometimes.
I can't do too much musical movement with a lot of MC's, because they don't know how to follow me. But with Souls of Mischief, I could go anywhere because they are musicians - they rap as musicians, and they play instruments and produce, so they get that.
It's important for a young black kid to see a Mexican hero, just to know that we're all equal.
Koverman is one of my favorite Hollywood characters because she was the brains of MGM, and not many people know about her.
I keep coming back to you in my head, but you couldn't know that, and I have no carbons.
I did not know how to share with someone the fact that I was really, really depressed.
I know what my causes are. And I care about them, so I'd rather get out there and talk about them than just play it safe.
We know we cannot plant seeds with closed fists. To sow, we must open our hands.
There is such thing as a 'smart bomb' - bombs are smart these days, you know.
When I throw a dart, even when I'm looking I know if I've missed or hit as soon as I release the dart.
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