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I'm just thinking I'm just like a normal actor who gets scripts, and I read them, and... if I enjoy reading them, then that's what's exciting, then I get excited about the audition or the project itself.
No, I'm not interested in developing a powerful brain. All I'm after is just a mediocre brain, something like the President of the American Telephone and Telegraph Company.
But it was great, we sit in the same dressing room where, like, Johnny Cash sat and Willie Nelson and all those guys. That was in itself something amazing - I was on the same space these guys stood on, ya know?
That's what my music... I'm working on a solo record right now, it's gonna be more hip-hop than anything, like electronic hip-hop, futuristic hip-hop. I'm probably gonna be rapping on it.
I don't like to leave anything unfinished. I have an absolute need to see that every phone call is returned, every letter answered.
I like anything that is melodic, and I'm a very big fan of movie soundtracks, so my favorite artists/producers would be Steve Jablonsky, Hans Zimmer, K-391, Ahrix, KSHMR, and many, many more.
I can't get into the underlying psyche of someone like Robin Williams, but he was at that level of fame where he was somewhat self-protective.
Composing easy? I find it easy if - big if - the idea is right, if I have the right collaborator, and if my collaborator is in the room. I like my collaborator to be in the room.
I'm a very style-driven composer, and I like to give every project its own unique stamp.
I've got nothing against America, but I went over there a couple of times and didn't really like it. I mean, not that I like England that much, but it's somewhere to live.
Right from the outset, the prevailing mindset in British comics fandom was a radical and progressive one. We were all proto-hippies, and we all thought that comics would be greatly improved if everything was a bit psychedelic like Jim Steranko.
My main point about films is that I don't like the adaptation process, and I particularly don't like the modern way of comic book-film adaptations, where, essentially, the central characters are just franchises that can be worked endlessly to no apparent point.
I could never be the kind of writer who went to the set of the movie and fussed and fretted about, 'Oh, that dialogue's wrong,' or 'That character doesn't look like that.' That would be insufferable.
I genuinely like the people I meet at signings or the bits of public talking that I do.
I really like working with talented people to do something for a lot of people around our world.
Ford had a number of different strategies over the years that they thought obviously made sense at the time, just like all the different brands, and also the regional operations.
Is it possible that software is not like anything else, that it is meant to be discarded: that the whole point is to always see it as a soap bubble?
I think it's like everything else; one shouldn't dig too deeply. It's silly to say that with a journalist, but sometimes there is not a truth to be found.
Los Angeles is not a town full of airheads. There's a great deal of wonderful energy there. They say 'yes' to things; not like the endless 'nos' and 'hrrumphs' you get in England!
I can't imagine finding success and then moving to a building in Manhattan with 300 strangers, like a bunch of little ants going home at night.
At the outset of the creation of the euro in 1999, it was expected that the southern eurozone economies would behave like those in the north; the Italians would behave like Germans. They didn't. Instead, northern Europe fell into subsidizing southern Europe's excess consumption, that is, its current account deficits.
It's not a coincidence that the Bible starts with Genesis. Most people really want to know where we came from and where everything around us came from. I like to strongly push the scientific answer. We have evidence. We no longer have to rely on stories we were told when we were young.
Like so much in Singapore, admission to the Marina Bay's casino is hierarchical: Free for anyone with an international passport, costly for locals, off-limits to migrant workers altogether.
Directors have a tendency to use their hands like orchestra conductors. They don't realize that the actor is looking at their faces, anyway.
I grew up with nothing, so whenever I got to where I could have something I felt like I needed to have everything I couldn't have when I was young.
The protean nature of the computer is such that it can act like a machine or like a language to be shaped and exploited.
Most software today is very much like an Egyptian pyramid with millions of bricks piled on top of each other, with no structural integrity, but just done by brute force and thousands of slaves.
We rarely sue anyone, but, like others in the real estate industry, we get sued.
Rush Limbaugh advocating for objectivity is like Donald Trump advocating for humility.
If we want users to like our software, we should design it to behave like a likeable person.
I like working on things that are very different and that involve different disguises.
Actually I like working kind of fast, because if you got it, why bother doing it over and over?
It is not hard to feel like an outsider. I think we have all felt like that at one time or another.
I like the tragedies way more than the comedies because they're so universal.
There are two kinds of terrorism. Rational terrorism such as Palestinian terrorism and apocalyptic terrorism like Sept. 11. You have to distinguish between the two.
Asymmetrical warfare is a euphemism for terrorism, just like collateral damage is a euphemism for killing innocent civilians.
In my neighborhood, everyone had an opinion on the local cantor. You didn't go to a synagogue to listen to the rabbi's sermon. You went to listen to the cantor. It was like a concert.
I feel like my 50 years at Harvard were an interlude. I'm really a New Yorker.
I expect that my readers have been to Europe, I expect them to have some feeling for a foreign language, I expect them to have read books - there are a lot of people like that! That's my audience.
Whether you like it or not, Paris is the beating heart of Western civilisation. It's where it all began and ended.
What I discovered is I don't like to repeat lead characters because one of the most pleasurable things in a book to me is learning about the lead.
Spy novels are traditionally about lone wolves, but how many people actually live like that?
I love the gray areas, but I like the gray areas as considered by bright, educated, courageous people.
I love the combination of the words 'spies' and 'Balkans.' It's like meat and potatoes.
The brutalization of humans by other humans never fails to get to me in some angry-making way. It shot up in me like an explosion.
When I get asked about novelists I like, they tend to be white, male, and British, like Graham Greene. They write the kind of declarative sentences I like. I don't like to be deflected by acrobatics.
I loathe crowds. I especially don't like cities. A city involves biomass. And biomass gets to me.
When I see someone like Richard Dawkins, I see my father. I grew up with that. I'm basically the child of Richard Dawkins.
When I'm writing, I write all day. Other days, I sit around thinking. Or I run around from one meeting to another, out in the world. It varies, and I like that.
I like the values associated with a medical family - common sense, being practical but also thoughtful.
In each restaurant, I develop a different culinary sensibility. In Paris, I'm more classic, because that's what customers like. In Monaco, it's classic Mediterranean haute cuisine. In London, it's a contemporary French restaurant that I've developed with a U.K. influence and my French know-how.
It's not easy to have success with restaurants in different cities, but I like the challenge.
I don't like being disappointed by somebody I trust. Fortunately, it rarely happens.
I have had some problems because the French don't like people to have success, they don't like the number one.
It's like when people talk about driving F1 cars in the rain. I have absolutely no problem with it.
All these buildings are like mountains I would like to climb, but I am forbidden.
Plus, I very much like the feeling of height, and buildings have even more of a feeling of height than rock faces.
I feel completely alone - it's like melting, I am the structure, and I am also Alain Robert.
With buildering, I get to keep that element of danger. Plus, I very much like the feeling of height, and buildings have even more of a feeling of height than rock faces.
I've been nominated twice before as actor in a leading part. Now I'm nominated as actor in a supporting part. If I don't win, I'll just wait until I'm nominated for being in the theater during the show. Do they have one like that?
I was always interested in figuring things out. I'd do experiments, like combining things I found around the house to see what would happen if I put them together.
The hardest thing for me about making movies, and that included 'M*A*S*H' because it was made like a movie, was starting and stopping.
What heartens me is to see '30 Rock' on the air. It makes me laugh from my gut, which I really like to do.
I used to read science fiction a lot, and I still like science fiction when it is a model of how we really are and to see ourselves from another perspective.
I read science, because to me, that's extremely exciting. It's like a great detective story, and it's happening right in front of us.
My background is on the stage, so when I'd write movies, they'd be a lot like plays.
What I always wanted to get seen as was as a good actor, when it was the acting I was doing. When I'm writing, I want to try to be seen as a good writer. Not as somebody with a particular idea to sell, or something like that.
I would like to know that when I read the paper in the morning, it's telling me something that actually happened, and I think the vast majority of journalists want the same thing.
I would like to have a movie under my own control sometime, and see what could be done with it. Who knows? Maybe Hollywood will make an improvisational movie someday.
Something I miss terribly from the '60s - the most important phrase in the English language was, 'I got hung up.' Somebody says they got hung up, it's unassailable, you know? You don't go near that. Whoa! I know what that can be like.
I'm used to changing a lot of the dialogue. But if I feel like the script is working, I don't want to mess with it.
I'd have to say that my favorite kind of film is serious comedy. Comedy with serious underpinning. 'Little Miss Sunshine' is like that. That's my fave genre, if I had to pick one.
I don't like improvising on camera, particularly, but very often, a scene will not be working, and you rehearse it once or twice, and you realize something's missing. So I'll play with it until it makes sense.
I did a couple of movies in Brazil, and the actors were incredibly congenial and hung out together a lot. Even the biggest stars would do radio commercials - they're not put on a pedestal like they are in the United States.
There has been much talk referencing what I consider conceptual reports like the Landscape of Choice and documents created as a result of the Great Valley Center.
I'm not like J.K. Rowling, where I know there's going to be this number of seasons, and I know exactly what's going to happen. I would be so bored if that was the case. There would be no journey. There would be nothing to discover.
Somebody asked me, 'Why do people like vampires so much?' This was right after Obama had been elected and I said, 'Because we just spent eight years being sucked dry by one.'
I am a little suspicious of industry paradigms. I feel like so many movies and TV shows feel so familiar because of over-reliance on these paradigms.
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