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Midfielders, on average, get somewhere between half a second and a second to think before they have to move the ball on. For strikers, however, it is significantly less: between 0.1 and 0.2 of a second before a defender is on them.
What I need to address are the situations when people are taking it upon themselves to think for me, make assumptions, or interpret things as if they are me. Last time I checked, my head was still attached to my body, so I'm the only one who knows exactly what I'm feeling, and that is not what I or the fans have been reading.
I try not to think too much about an audience when I'm writing the first draft of a book - at that stage, the prospect of anyone reading what I've written would be enough to scare me into setting my laptop on fire.
I think when I feel fear, that's often a cue that I should do something. If I begin to feel fear, that's a strong sign, psychologically, that something has its hooks in me somewhere deep.
Television has changed. Some feels like good old-fashioned TV, and some of it feels more filmic and more natural and more nuanced. I don't think there's any clear line any longer between film and TV.
I haven't done 'Celebrity Poker Showdown,' and I would love them to have me, but I think I'm not a big enough celebrity yet to get on there.
When you look at Prince Charles, don't you think that someone in the Royal family knew someone in the Royal family?
Sometimes I think they should set up an asylum for people like that... a whole slew of paparazzi defending their positions.
I think we manifest the very thing we put out. If you're putting out negativity, then you're going to retrieve that same sentiment. If you emanate joy, it comes back to you.
I think the inception of my interest in arts was when I was around 9 or 10 and I started dancing. I was really convinced that I was going to go to New York and be onstage in 'A Chorus Line.'
Famous is celebrityism, and I don't want that... I know that I'm not that. Everybody knows who you are. I can't imagine living that life, but I don't think I consider myself famous.
Writing and reading fiction is, I think, a human effort to make sense of the world.
I think when writers play with dragons, we are simply doing what fantasy writers have always done.
I actually think that short stories transfer to film much better than novels do.
I think that my passion for writing fantasy began at about the same time as my passion for reading fantasy.
I think ever since I started to read, there have been favorite novels for different stages of my life. And one is never bumped out of place to yield to another. Instead, I just add to my favorite shelves.
Sometimes I regret that the wonderful children's stories that have been made into movies were - people no longer read 'The Wizard of Oz'; they think they know the story. They don't know anything about all the bits and pieces they had to leave out.
I think there have always been male writers, female writers. As a reader, I never picked up a book and said, 'Oh, I can't read this - it's about a male,' and set it back down.
I think it's really hard to draw a hard-and-fast line and say 'Grimm's Fairy Tales' doesn't count as science fiction or fantasy. Or at what point do we say mythology is not fantasy, so reading mythology when you're young does not count as an exposure to fantasy?
There can be a science to joke writing, there are certainly rules and patterns that can be followed, but I think most of the best comedy goes beyond the rules.
The Chinese government still would like to see U.S. Internet companies explore the Chinese market, providing they are willing to abide by Chinese law. I think companies like Facebook should think about the Chinese market.
Sooner or later, you will see a China-based company that really has a global impact, and I think Baidu has a chance to become one of those companies. We should be able to compete on a global basis.
If people want to compare me to Danny DeVito, that's the biggest gift there is. I think Danny DeVito is fantastic.
Elderly parents tend to think their relationship with their middle-aged children is smoother than the children do. Adult grandchildren, who have little stake in pulling away from their grandparents, tend to describe that relationship as less rose-colored than do Gram and Gramps.
What I write, if you have to label it, is crossover, and I think that much of the stuff that is called children's or YA is in fact crossover and is equally valid for anyone who likes to read fantasy.
Feminism is experiential; it's comparing notes. And when those stories get told, and you realize it's not just you - it's bigger - there's just a huge sigh of relief. Otherwise, you think you're crazy.
I think I have some interesting things to say and I don't think anybody out there is saying them.
Over the years, people have often said to us that they were going through some horrible thing in their life - maybe the worst thing that had ever happened, or that they could think would ever happen - and that, somehow, in that state, we made them laugh. And I was like, 'That's a wonderful calling.'
I didn't think it sounded so much different than anyone else's voice until I got to the broadcasting school, and I raised my hand to ask a question of the school president, and he said, 'See me after class.' And the rest is history.
I think that if someone told me I could have been a visual artist, I might have been a visual artist instead. And if I'd known I could have done art history, I would have done that. But I just didn't know.
I think what I would really most like to write about is palm trees and bougainvillea and hummingbirds. I would like to go into the desert and write about salamanders and the Grand Canyon, but history keeps rupturing my experience because politics are everywhere.
I think it's really important to use your hands and get close to materials. To be up close to real things like rain and mud; to have contact with nature.
I think the first things that are relevant are that things should work well; they should function.
I think there's a tendency for modern man to become dominated by gadgets and machines, taking us further and further away from the things I've been talking about.
I would think twice about designing stuff for which there was no need and which didn't endure.
Magazines and advertising are flogging the idea that you have to keep changing things and get something new. I think that's balls - evil. But obviously that's your livelihood.
There's this very vulnerable planet of ours with finite resources. Architects and designers have, I think, a fair responsibility for conserving energy and materials, and making things durable.
This is one of the most effective adaptations of racism over time - that we can think of racism as only something that individuals either are or are not 'doing.'
I think our everyday coded language around 'good neighborhoods' and 'bad neighborhoods' is what allows for tremendous violence to happen... When you label a neighborhood 'bad' and avoid it, then you don't know and don't see what goes on there. And there's no human face to interrupt that narrative.
I don't think Mourinho wants to have friends, or maybe that's just the way he likes to appear.
It's interesting: I think, as a Latino actor, the biggest challenge is being called 'Latino' because immediately, the world has a perception of what that means.
I trained at the Lee Strasberg Institute at Tisch, which is a huge foundation for young actors. They teach you their methods and give you the sense that acting is much more tangible than most people think. I think there's a mysticism of what acting is, in the fact that it's this ungraspable, spur-of-the-moment thing that nobody can understand.
I do think you are mainly thrown into one medium as an actor, and then hopefully you grow from there.
My number one passion is acting, but I also think there's something so special in being able to support a script and an idea and take it all the way through to fruition. I think that process is so rewarding.
The great thing about being a producer on a project is that you get to see the ins and outs of every piece of the puzzle. There are so many elements involved in every aspect of a film's development that I don't think the average person is aware of, which is, I guess, why the whole process is referred to as movie magic.
I think what helps me is that delegations of all sizes - the small, the medium, the large, the largest - they all have seen me in action. They all have seen me unlocking blockages, unlocking impasses for several years now, and they all know that... I can bring a constructive mood to the table.
One thinks that one is winning when we slap tariffs or introduce barriers to imports from another country, and we think we win. But you lose when you export because the other countries are going to raise tariffs as well. They're going to introduce barriers as well. So you win with one hand and you lose with the other.
I think educational systems have to be more nimble, have to be more adapted to today's realities where students can go in different directions and professionalize even faster. Constant retraining and reskilling and upskilling, whatever you want to call it, of the workforce.
If I were to say what I really think I would be arrested or shut away in a lunatic asylum. Come on, I am sure that it would be the same for everyone.
I think people are looking for an alternative to the fast pace of everyday life and entertainment.
I think that opera in Europe is 30 years ahead of America. There is a broader range of material presented to the public. They value contemporary opera.
I don't see much difference between living and working. I think living is a part of my work. People often say, 'How can you work so much?' I don't think about it as work. I think of it as a way to live.
Most artists don't understand what they do, and I don't think we have to. Other people do that better - they understand what I do better than I do!
I don't much like being a public figure, because so often how people appear is not how they really are, and I think one of the issues about our society is that we make judgments about people on the basis of very flimsy evidence.
My father died when I was nine, but I came from a stable family environment, which I think does contribute to being well-behaved.
When I grew up, we didn't have a TV, and I think more families today have ambitions of getting out of their environment, such as sending their children to university.
Of all the stars whom I worked with, I think Steve knew better what worked for him on the screen than any other. He had such a sense of what he could register, and that helped a lot in terms of shaping the character and the script.
I think one of the major things a director has to do is to know his subject matter, the subject matter of his script, know the truth and the reality of it. That's very important.
You know, people always think if you start out as a film editor, you shoot less footage. Actually, just the opposite is true. I tend to grab as much coverage as I can because as a former editor I know how important it is to have those few frames.
I would like to think that the singer is the butterfly, and the drummer was just the little grub in the ground, working to become a caterpillar.
I've always liked pop music. There was a bit of a misunderstanding with the avant-garde rock scene, because I think I was sort of swimming the wrong way, really.
I think that pop, and to some extent rock, are like sport and fashion industry in that they're about the exuberance of youth. That's the sort of subliminal ideology.
I think the people who did well, or are happy, in a youth industry, they define themselves out of the business after a decade or so.
I can't see any reason why a dramatic story can't be in 3-D. I think 'Lawrence of Arabia' would have been fabulous in 3-D.
When I consider a problem, it is now instinctive for me to think about the institutions involved, the authorizing environment, possible coalitions, likely opposition, implementation, legal issues, resource dimensions, communications - and how the problem fits into a stream of other issues.
I don't think we should have to do a Mars mission on the basis of hysteria. I think we should do a Mars mission on the basis of a deliberate judgment that what we want to do is open up a new planet for humanity... that we are continuing to be a nation of pioneers.
I think of Mike Myers as the Buster Keaton of today. I think he's brought us something so special.
But I must think that an address to his majesty to remove one of his servants, without so much as alleging any particular crime against him, is one of the greatest encroachments that was ever made upon the prerogatives of the crown.
He likes 'Confetti,' and he doesn't like 'Star Wars.' I think that just relieves us from the burden of ever having to take Mark Kermode seriously again.
It's a very funny topic, missing weight and getting title shots. I think the punishments should be more severe, but I don't know.
If Mayweather wants to come over and fight in the UFC, then do it. It's hardcore here, though. I don't think it'll be a stroll in the park. Granted, he's the best boxer ever seen, just about.
I wouldn't be in this sport if I didn't think I could make it to the top.
All my skill sets have grown; my experience in the Octagon has grown. I honestly just think I'm getting better with every fight.
I think everybody must be aware that this society is a whole lot shakier now than it was before the war. I was trying to examine, in 'Dog Soldiers,' the process of that blow falling on America.
It's easy to create a country, all you have to do is to think of a name for it.
I think we need one recognized, respected public figure to make a tough, blunt statement on just what Reagan's record is and what he might do to the country, let alone the Republican Party before Christmas.
I think he could have made most of the trips and gone to most of the fund-raisers if he would have avoided the partisan rhetoric and talked to the country as President in each of these appearances rather than to the narrow partisan audiences.
This is easy to say with the benefit of hindsight, but I think it once again points out how very important style of leadership, that is the way he does what he does, is to his perception.
And I think one way or another it's evident to those who work with me that as a writer, a director, a friend, as somebody's there that's very anxious to get the movie made.
But time has caught up with it and I think vindicated it. Shampoo, too: very dark, very ambitious movie.
I think that those are the things that you can uniquely do with film that are difficult to do anywhere else: they can bring a picture to life, give it a natural and historical context and make you feel that everything else is suddenly credible.
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