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I think what we do is fairly unique on 'Psych,' and we just have to keep doing that because that's what got us where we are.
I get star-struck anytime I meet performers that I grew up watching and appreciating. I mean, it's still incredibly surreal to me that I was a kid in San Antonio watching movies and then now I'm working with some of the people that were in those movies. I don't think it'll ever stop being surreal on some level.
It's rare that you sit down for an episode of 'Psych' and think, 'Oh, that was just okay.' For the most part, we're either really knocking the ball around, or we're striking out and failing miserably, but you don't ever want to be anywhere in between.
I don't think the expectation is that the 'Psych' musical is going to be 'Rent,' so I think as long as we didn't completely humiliate ourselves and it is funny and it is in the tone of what we do, we'd have a fighting chance of pulling it off.
I think the worst and most insidious procrastination for me is research. I will be looking for some bit of fact or figure to include in the novel, and before I know, I've wasted an entire morning delving into that subject matter without a word written.
I think of my actions every day: what seems to be important and what isn't.
When things become peculiar, frustrating and strange, I think it's a good time to start painting.
The automobile crash was... devastating in ways that I still cannot really bear to think about... It took me many years to recover. In some ways, I never have.
He who is firmly seated in authority soon learns to think security, and not progress, the highest lesson in statecraft.
We're going to be very strong with employers in all of our aspects, because I think there's been too much of this idea let's try and get along here, and we've eroded some of our standards.
This summer, I'll be bringing out a mystery that involves a young lawyer and a court scene the likes of which I don't think you've ever seen. Hollywood said this is James Patterson meets John Grisham.
In my office in Florida I have, I think, 30 manuscript piles around the room. Some are screenplays or comic books or graphic novels. Some are almost done. Some I'm rewriting. If I'm working with a co-writer, they'll usually write the first draft. And then I write subsequent drafts.
Ultimately, a great thriller is a roller coaster ride. I like to think that's a promise I have never failed to keep, and one that I'd say has served my books well.
I think e-books are terrific in their own right. I love being able to get on a plane and basically carry around seven books and it weigh 10 ounces.
I don't think about an industry or building things, but somebody says you're lucky if you find something you like to do, which is true, and then it's a miracle if you get paid to do it.
One would think that in writing about literary men and matters there would be no difficulty in finding a title for one's essay, or that any embarrassment which might arise would be from excess of material. I find this, however, far from being the case.
It is certain, indeed, that the sacred writers were apt to make great allowances for people with empty stomachs, and though I am well aware that the present profane ones think this very reprehensible, I venture to agree with the sacred writers.
There are only a few TV networks that really invest in production in the way that I think they should. HBO, obviously, is one of them.
I'm on record saying that HBO is the best television company in the world, and I believe they are. I think they absolutely understand how to make television that is really, really vital and interesting and visceral, and all the things that television really should be.
I think the business affairs people at the studios get some kind of perverse satisfaction in finding the worst hotels for actors to stay in.
I think, as an actor, I would find it a little run-of-the-mill doing procedurals where it's the same sort of thing week in and week out. Your character doesn't get to grow very much, which, purely from an actor's point of view, you want to see an arc of your character.
What I'd like to say is that I think the lives of every one of these little kids who are trapped in these unsafe and failing schools are too important, and I'm willing to take the abuse in order to help them.
I grew up loving women and without misogyny, rancour or prejudice, totally loved and loving. And no matter what has happened since, I don't think I have treated women in my life very badly.
I think a lot of us who grew up in Northern Ireland weren't politicised enough, frankly.
Perhaps not being very self-aware in the past masked depression. I think I was confused. I think I was immature. I think I probably was quite depressed.
I think often there is great rivalry between neurosurgeons and cardiac surgeons. I think I maybe have a bit of bias with neurosurgeons' opinion that nothing tops neurosurgery! But that makes for a quite interesting conflict between the two.
I think the mistake lots of people make when it comes to a psychopath is that they completely write off their actions as cruel, callous and completely calculated, but actually, the truth is that they have interests and reasons behind their actions.
But I think I can sincerely declare that I cheerfully submit myself to every odious name for conscience' sake; and from my soul I despise all those whose guilt, malice, or folly has made them my foes.
That is what made America great: that everyone had the opportunity to be a winner. And I think it's still there. I'm certainly a beneficiary of it.
I have a direct way of speaking. What I do is tend to lay out everything; I tend to tell people what I'm going to do and how I'm going to do it and what is success for us and what's not... without being too parochial about it, I think Aussies are more direct.
I think Americans are very verbal and Aussies are more circumspect, and that can come across as being clearer. It can also come across as abrupt and cold. Some people find me to be abrupt and cold. That's just my personal style.
Honestly, humans are social creatures that really crave intimacy, and I think that the friends I have who are trying to somehow go it alone are suffering for it.
I've never been one to think it was cheating to sample this or to loop the drum part there - I've always done that. Even using four-track cassette recorders, I was always doing whatever I could to make it as good as I could.
And, as I have said, it's made me think twice about the imagination. If the spirits aren't external, how astonishing the mediums become! Victor Hugo said of his voices that they were like his own mental powers multiplied by five.
I'd like to think the scientists need us - but do they? Did Newton need Blake?
I don't think I'd like to be that guy who does disrupt training. I always feel the team comes first, and that's the way it is, and me being a disruptive influence, because I'm not playing, doesn't help the team.
I think the first time I finished a season with the same manager who started it was Martin O'Neill at Villa, probably five seasons into my career.
I think the first time I had to play at left-back was at Manchester United in the Europa League.
Anyone would love to have the medal and a major trophy on their CV. When you reach Wembley, you think of the amount of hours you have put in training throughout your life, all the games you have played up to that point, and if you win a trophy, it is there forever as a reward.
It became clear I wanted to be a development economist. I mean, I said I wanted to work on the economics of poor countries. And I'd actually say that I don't think that was so much about narrowing the gap as about increasing their incomes, which means economic growth, which is really my prime interest.
I think, in effect, in most of the European countries, the total marginal tax rate is over 50 percent; that's to say, add on other taxes like VAT to the income tax.
I would just like my children to be able to eat fish when they grow up. Now, I don't think there's anything controversial about that.
When I do a remix, I try to think about what I don't have in my bag and create something to fill that gap.
One of the things that I think is special about DJing is creating this atmosphere of collectiveness, as if to say, 'We're all in this together.'
I actually want to write a treatise in defence of pretension. I think the word 'pretension' has become like the word 'ironic' - just this catch-all term to distance people from interesting experiences and cultural engagement and possible embarrassment.
The fact that tradition hinders the individual savage from thinking logically by no means proves that he cannot think logically.
As an actor, you always think your last job is your last job, and you're always doubting yourself and worried that people will see you're a fraud.
For a film to be viable, it has to survive this process of scrutiny. I think most filmmakers have obsessive-compulsive tendencies and would be completely unemployable in any other job - so it's great to be able to channel your psychological anomalies into something productive and creative.
My personal philosophy would be don't whine, don't let opportunities pass you by, be willing to work hard, and remember that you don't know as much as you think you do, ever.
Tough guy Spike was always the funnest, but I'm most proud of the more recent stuff, the last season, I think.
I think most of my songs are based on an emotion and in every song I write, there's at least a partial truth.
The Amazon lot are perfectly reasonable, level-headed people who just want to make TV programmes. I don't think they are the enemy of the BBC or the other way round. It's not a war; these things can coexist. We can have Amazon and Netflix and the BBC and BT Sport, and people can make choices. That's what modern life is all about.
I think my recognizability ebbs and flows. I don't lead a particularly celebrity lifestyle or anything like that. I don't go to showbiz parties or red-carpet events, so it all depends on whether I've got a film out. I've not been very visible in the last year or so and as a result hardly anyone stops me in the street.
I was talking to one of my aunties at Christmas and she said she didn't think it was ever in my nature to go against the grain, that I was always a good boy. I think she was right - I did always want to be good.
I think the most romantic thing you can do is just turn up. Turn up when it's difficult for you. Travel halfway around the world or just up the road. Whatever it is, just be there.
I don't live for my work. My life is my life. That's more important, and I think that helps my work.
I think that anybody's craft is fascinating. A taxi driver talking about taxi driving is going to be very, very interesting.
Every man who is high up likes to think that he has done it all himself, and the wife smiles and lets it go at that.
Some people say Hawaii is spoiled, but I don't think so. It's modern. It's a part of today's world.
I don't think anyone connected with Five-O believed the show would last as long as it did.
I think you have a pact with an audience in every picture, and I think the pact is to try and be truthful and to be real.
I love romantic comedy, but I think you have to have another idea that you're chasing along with romantic comedy.
I always think a successful television series is the best job because it gives you community, it doesn't demand temporary insanity the way movies do, and you can be almost a normal person.
I think television keeps on being a place where writers can go, and if they're successful, they can have their way, and they can have creative freedom.
I was only in college, unfortunately, for, um, a year. I think my major was public relations, and I had no idea what it meant except it seemed maybe attainable.
I don't know whether I have ideas all the time. I think I'm curious about things all the time; I think I'm always curious, and I think I'm always interested in whatever passes by, and I know I tend to think about things, and I tend to talk about things, and sometimes that takes root and gives me something to chase.
I always think that the deal, once I do the script, sort of the experience I go through writing, which is everything you can imagine, but I always think it's the one thing I can do when I'm directing is say is that it's all about the actors, that I can say, 'We're all here to serve the actors.'
I think you always want to have a project where it's not about you: where you're serving it. Where it has needs, and you're trying to meet those needs, so you're trying to lift it out of you and put it out there and then say to people, 'Hey, I think that's it; let's head that way.'
I don't make my decisions by P.R. I make my decisions based on what I think is right or wrong.
I think an owner needs to be present. When an owner is not present that's when things tend to go awry.
It does not, surely, require such torrents of blood to satisfy any reasonable man that nothing can be a more impious presumption than for either side to think themselves entitled to count the Almighty as an ally in such a pitiful display of human passion.
There must be freedom for all to live, to think, to worship, no book, no avenue must be closed.
I don't think I could, with a straight face, describe myself as a completely positive person, but I'm not overly negative, either. On the whole, most writers think plots through to their consequences, and it's not always a sunny place. I have an occupational temperament for anxiety.
I think one ages and one dates. I tend to have a good deal of difficulty in liking some of the new poets.
I think that concrete poetry seems to have, as far as I can see, come to a kind of a dead end. It doesn't seem to be going any further than it went in its high period of about five or six years ago.
I think that is where poetry reading becomes such an individual thing. I mean I have friend who like poets who just don't say anything to me at all, I mean they seem to me rather ordinary and pedestrian.
I think we will always have the impulse towards visual poetry with us, and I wouldn't agree with Bly that it's a bad thing. It depends on the ability of the individual poet to do it well, and to make a shape which is interesting enough to hold your attention.
It's all well and good to say that Germans were all responsible for the concentration camps, but I don't think they were. I think that was the work of a small group of fiends.
Of course a poem is a two-way street. No poem is any good if it doesn't suggest to the reader things from his own mind and recollection that he will read into it, and will add to what the poet has suggested. But I do think poetry readings are very important.
I think if you're able to make the music you want and you can do it in the right kind of context, you don't have to be a circus ringleader to be successful.
I have a Bolex, Aaton, Arriflex, Eyemo, Filmo, Mitchell, Photosonic, Beaulieu, Keystone - just about every movie camera you can think of.
I think the reason that we do things the way we do is because we respect the customer. And I don't look at what we do as anything less than any other brand.
I don't wish for anybody to go out of business, but I think there are far too many things in New York that really shouldn't be here.
A lot of people dismiss what we do. They think, 'Well, it's skate, so it's got to be, like, big baggy pants, cap backwards, big chain'... They don't understand that just because skating is the culture we're working in, it doesn't mean that we can't make good things.
I think a lot of brands reach a point where they say, 'We kind of have a formula - we've got it made.' Our formula is there's no formula.
I'm not really concerned if people have this purist view of the New York Supreme thing. If they think opening our shop in Paris is going to harm our brand, then we can't really be that strong of a brand.
We don't want people to think of Supreme as this hard-to-get, exclusive brand. We're a brand of the people.
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