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A Christian high school is just like any other high school in the sense of the politics and all of these levels of who's cool and what to wear.
When I was five or six, I asked to sing at a big family party, and ever since I got up there in front of everyone in my suit - it had a blue collar, like in 'Scarface' - I had the bug.
A company like DreamWorks, all we do is make product. That's all we do. We don't own distribution. We are purely in the creation of content.
When you decide you want to become a television writer, you naively assume it's going to be like the writers on the old 'Dick Van Dyke Show.' You'll write something and they'll just put it on TV. But what you quickly discover is that American network television is television by committee.
Is there anything sadder than the foods of the 1950s? Canned, frozen, packaged concoctions, served up by the plateful, three meals per day, in an era in which the supermarket was king, the farmer's market was, well, for farmers, and the word 'locavore' sounded vaguely like a mythical beast.
The beauty of recording in L.A. is that most of the musicians that are on the record live here, so it was easy to get world class artists like Rick Braun to swing by and play a little trumpet, Everette Harp on sax, guitarist Paul Jackson.
I find it valuable to watch what I do. I like to know when I'm making a choice if it actually works or not.
I think that it's fun to get the script and open it like a Christmas present. That's 'Alcatraz' or anything that I'm working on. If the groundwork has been laid too much, the surprises aren't there.
I grew up in Cincinnati, Ohio, and my parents are really right wingers. My dad watches, like, five or six hours of 'Fox News' every day and stuff like that.
I'm a complete globalist. I think like a global CEO. But I'm an American. I run an American company. But in order for GE to be successful in the coming years, I've gotta sell my products in every corner of the world.
When you take over a company like GE, you think you're going to visit 100 businesses. You're going to go see the factories you haven't seen before. You're going to see a site in Texas and one in Canada and stuff like that. That has fallen by the wayside.
As a teenager I read a lot of books. Books with lots of scary trends, things like nuclear weapons and overpopulation and global diseases, and I thought, 'Wouldn't it be great to write stories that showed people these problems and that we could do something about them.'
I backpacked around the world and went to places like Mexico City and Pakistan, where I'm like, 'Oh. Things aren't quite as good.'
I don't like to hurry. I'm not a conductor of the fast, fiery romantic type. I prefer Bruckner, with the sincerity of his musical language and the huge time spans in which his ideas develop, to Mahler, with his hysteria and self-indulgence.
I grew up, like most people in my generation, watching John Travolta. I was thrilled to meet him.
I like New York because you're kind of forced to smell everybody else's funk. So it keeps you biologically attached to the world around you.
I like to do theater and hopefully be effective. Most actors, at least contemporary actors of my generation, can't do it. They don't have the chops.
I watched some shows like 'The Simple Life' and 'The Anna Nicole Smith Show,' but I hadn't really watched 'The Bachelor' until I was cast on 'UnReal.'
When you're looking for a sketchbook, you've got to find the right paper for the pens you like to use. I like to draw on both sides of the page.
Generally, I don't pencil, especially with the autobiographical comics, although I've usually planed out composition in my head during the scripting stage. I like to work directly in ink, to keep the spontaneity and expression conveyed by a less worked over line.
Just about everything put out by Top Shelf and Drawn & Quarterly and Fantagraphics is what I keep up with. And once in a while, I'll read the more mainstream comics - I like Grant Morrison's writing and some of Warren Ellis' stuff, although maybe they're more on the fringe of the mainstream.
In my day, you could get a faculty job with zero post-doc papers, as in the case of yours truly; but now, the CV of a successful applicant looks like that of a newly minted full professor from olden times.
Women are surprised to see me on the street - like they're seeing a ghost. There's a lot of crying involved.
There is a constant ebb and flow in art historical reputations. The reputation of even the greatest figures like Picasso are in flux.
Sometimes you do a sound installation, and the first day or two it is very exciting. Then you are hearing this every day for a month, and it becomes like a torture.
I have a green thumb. I really like to get into the shrubs, the bushes, and really cultivate.
Most salespeople would like to think of themselves as being rock stars, but they don't display the talent to match their definition.
Rock stars, like anyone else, have to show discipline and take consistent good actions.
I'm not hurting anybody. Comedy's all about innuendo. I'm putting it out there just like anybody else.
I've actually tried to roast somebody that I don't like, and it doesn't go well. Either they're a bad sport or I'm not as funny as I could be.
Treating your audience like thieves is absurd. Anyone who chooses to listen to our music becomes a collaborator.
There are a lot of human-created systems that we like to tout as being logical that are actually riddled with illogic. And then, on the other hand, we have all these natural systems that are not conscious, but they are logical, and they work really well.
I like Donald. I guess I shouldn't call him that. I like President Trump. He's affable. He's funny.
A musical sweeps you along, like you're on a magic carpet ride of sorts. But you have to keep up.
I didn't even know about guys wearing makeup, like David Bowie and Boy George. When I was really young, I wasn't into that - I was into Britney Spears.
My mum had 'Cosmopolitan' magazine as a subscription and 'Vogue,' and every month I would be like, 'I wanna be that girl in that ad.'
Finding a picture of me without makeup is like trying to get the last Gucci bag at Neiman Marcus: not gonna happen.
There is definitely a thematic lineage between 'Descender' and my previous work, like 'Sweet Tooth' and 'Trillium.'
There's something so arrogant about us creating robots that are more and more human-looking or acting. It's like we're playing God. Let's create something that's a reflection of us, but it's inferior.
I'm not a big fan of introducing a bunch of new mysteries into a story without really knowing where they're going because you just end up struggling at the end to make sense of them and make it all seem like you planned it all along.
The distance between the people who made the games and the people playing them wasn't that big. It was the spirit of independence. The programmers were a lot like you.
Definitely when you give a script to an actor, it's like dropping a capsule in water and the fizzing starts. That's when the thing starts to live and breathe.
Most people I run into say, I haven't missed an episode. Either you like Survivor or you don't, but if you do, you're a loyal viewer.
But Big Oil and Big Coal have always been as skilled at propaganda as they are at mining and drilling. Like the tobacco industry before them, their success depends on keeping Americans stupid.
If we drill the hell out of everything, including protected public lands and fragile regions like the Arctic National Wildlife Refuge, America can emerge as an 'energy superpower.'
The charge that liberal candidates don't connect with or understand the values and beliefs of regular Americans is embedded in old epithets like 'limousine liberal,' which I first heard aimed at New York Mayor John Lindsay in 1969.
I think back to the Eagles, Elton John, people like that when I think about the Troubadour. It's an iconic place.
I can't wrestle a match without getting my ankles taped because they feel like they'll shatter on me.
Whether I'm in the Hall of Fame or not, I can say whatever I like; it just depends on how it's interpreted!
At TNA, I like to promote the time that the doors open. And they open up an hour before showtime, and you have autographs and pictures from the time you come in the door.
The great thing about wrestling is that it's very subjective. They'll let you know what they like and don't like.
Many of Judy Blume's books - which I devoured when I was growing up and where I found characters that were believable because they were a lot like me - caused considerable consternation when they were first published, but now they're widely accepted as an essential part of the children's literary canon.
I like my drawings to be direct. I don't generally work on them for too long, but that doesn't mean that they are not works in their own right.
If I try to articulate every little detail in a drawing, it would be like missing the forest for the trees, so it's just about getting the outline of the forest.
I think multimodal kinds of models are pretty interesting - like can you combine text with imagery or audio or video in interesting ways?
I think robotics is a really hard problem - to make robots that operate in sort of arbitrary environments, like a big conference room with chairs and stuff.
Like millions of other Americans, I receive health insurance through my employer.
I think there's a lot of, unfortunately, unfunny ventriloquists out there, so they've got a bad rap. It came after Edgar Bergen because everybody had a little cheeky boy dummy like Charlie McCarthy, and everybody decided to become a ventriloquist because Bergen had popularized it. He brought it back from the doldrums of vaudeville.
All through college, I was searching for characters that would make me unique and set me apart from the typical ventriloquist with the typical dummy that was the little boy, cheeky hard figure like Charlie McCarthy.
It's a survival thing. I don't do anything to be artistic or just because I like it.
I have an affinity for good roles in good films. I like a variety of parts, and if some of the good stuff happens to be in fantasy and horror, I do them.
All my buddies over the years, like Kevin Costner and the guys - I see 'em go here, I see 'em go there - but I just do my work.
I would like to see Donald Trump lay out specifics on an economic agenda that are realistic, that are small-business focused.
Watching a baby being born is a little like watching a wet St. Bernard coming in through the cat door.
I really want to make this the last stop of my career. I don't want to be a vagabond, so to speak, and be traveling from team to team, year in and year out. I'm not that type of guy. I like to be settled.
My friend Ed Begley goes fishing. It's a little smelly to me, I don't like it so much. I like to eat fish, but I don't like to catch them.
I like collaborating with actors. I love finding that moment where it all comes together.
I don't try to make actors play crazy characters. I like where there's a certain element of who they are and truth to their performances.
It's a diabolical business. I can't imagine how hellish it must be to be hounded like Amy Winehouse and people like that. I have a little peripheral place on the outskirts of celebrity, when I go to premieres and that sort of stuff, which is as close as I want to get.
Sometimes when I do an overdub solo, they'll keep four or five of my attempts and then mix the bits that they like to make a solo up out of them. It's not against the rules, really - I can learn my own solos, then. But that's the whole beauty of multi-track recording, isn't it?
If the song makes it and people like it, then I guess that's all that matters, really.
The fun that I've had needs to be seen on the screen. I like the thought of a bunch of people laughing at what I laughed at - because my life is surreal, completely wacko.
Anyone who wants to see a very free world does not want government. I also don't like being extorted or being aggressed against by others.
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