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It was a lot of fun doing 'Felicity.' She had just won the Golden Globe, and she was huge at the time, but she was like the nicest girl ever. As a guest star on a show, you get on the set and you feel out of place, but she was so nice to me and really cool.
At the end of the day I'm writing comedy. If you get too realistic as a comedy writer with your disasters, it stops being funny.
The notion that religion can actually be something... attached to progressivism seems so bizarre. But all you have to say is that Abolition wouldn't have happened without it. The way in which African Americans managed to achieve a degree of self-determination was through the church.
You are not thinking hard enough if you are sleeping well. And you would have to be unhinged to take on a subject like the French Revolution, or Rembrandt, and not feel some trepidation. There is always the possibility that you will crash and burn, and the whole thing will be a horrible, vulgar, self-indulgent mess.
Growing up in Britain as a rather loose Jew, the two things that didn't belong together were freedom and religious intensity. In America, they do. The Founding Fathers made a bet that if you didn't force everyone to profess religion in their own particular way, you could protect intellectual freedom, and religion would flourish.
I always find that the more Jewish you are, the more people respect you.
To make a Frankenstein monster of a complex character like Stalin would have been too simplistic. I wanted to show who he was and, if you like, how he happened.
When we were in school, we were told that Stalin was a madman who got control of Europe, which teaches you nothing.
I am a passionate nonfinisher. Life is too short, and there are too many great books to read, so if I lose interest or respect, I switch. But when, of course, when you really fall in love with a book, all the others are ignored.
When you explain to people what you're trying to do, as opposed to just making demands or delegating tasks, you can build instant trust, even if it's just for that short time you're on the phone.
If you hire people just because they can do a job, they'll work for your money. But if you hire people who believe what you believe, they'll work for you with blood, sweat, and tears.
No matter how many or how few people you have reporting to you, you must remember that as you climb higher in the ranks, your words will be taken as commands even if you're just thinking out loud.
Anyone who achieves any kind of success, however you want to define it, sometimes can't let go of it.
I know there's a difference between being successful and feeling successful. And if you ask me if I feel successful, the honest answer is 'not yet.'
Most years, if you were to ask me how much I make, the genuine answer is that I have no clue. I usually find out the answer to that question once a year, at tax time, when my accountant tells me.
Some would argue that you're as successful as the company you keep. Certainly there is a connection between our friends and who we are.
In this age of omniconnectedness, words like 'network,' 'community' and even 'friends' no longer mean what they used to. Networks don't exist on LinkedIn. A community is not something that happens on a blog or on Twitter. And a friend is more than someone whose online status you check.
The strong bond of friendship is not always a balanced equation; friendship is not always about giving and taking in equal shares. Instead, friendship is grounded in a feeling that you know exactly who will be there for you when you need something, no matter what or when.
To spend more money, you have to have more money, but time is fixed and we all have the same amount to spare. How we choose to spend it can make a significant difference on the impact we have in our careers or in the world.
If you’ve written something that you believe is true, and if you can afford to defend it, then you’ve got to defend it.
All I am saying is that if you want to answer a question, then we need to examine and weigh up the evidence. To me, that's not dogmatic that's just... what else would you do?
You don’t have to be a genius mathematician to have a career in cyber security, but it certainly helps to be a strong mathematician.
Nobody wants to get rid of the libel laws, but we want them to be fairer. If we drove down the costs you might end up with more people suing. The only people who can afford it now are the rich and the giant corporations.
Reviewing good puzzle books is frustrating, because you get to page one of the introduction, find a curious puzzle, become engrossed for 20 minutes, miss your stop and then fail to get home in time to say goodnight to the kids.
We have hated the French for years. Now you have just joined the club. It makes you much more likable.
The object of this competition is not to be mean to the losers but to find a winner. The process makes you mean because you get frustrated.
I think you have to judge everything based on your personal taste. And if that means being critical, so be it. I hate political correctness. I absolutely loathe it.
If you've got a big mouth and you're controversial, you're going to get attention.
I think that by ignoring the show you're ignoring the audience who put you there.
Shave off your beard and wear a dress. You would be a great female impersonator.
We're going to do a natural birth. At first she was like, 'We should do it at home,' and I said, 'Look, either way, when you go into labor, I will be checking into a hospital... so if you want to come along, come along.
I thought it was going to be a hut in Topanga and Janis Joplin was going to come out, but it's a real doctor... I went to Beverly Hills to meet this midwife; you'd think they'd be in nature.
I wouldn't wear turtlenecks. That I'm not envious of. But who knows? I might sneak out a few things and hope and pray that no one says, 'Hey, didn't you wear that when you were playing an enormous geek on TV?'
There are those moments where you realize that your parents or your heroes are human and are fallible.
Working is a bonus; working on something you love is a bonus, and getting to do it for a long time is the ultimate.
I think working for the audience, for me, is the most fun. It's really a chance for something to work towards. It's where everything kind of comes together, and you have to make it work. You have all these people who are sitting there, wanting to have a good time and wanting to laugh. You really have no choice but to pull it out.
Playing piano well is one thing, but attempting to play at concert level accompanying Meryl Streep while Stephen Frears is filming you in front of hundreds of people is - well - psychotic.
I have great instincts, like the instincts of a squirrel. You know, like when you're driving and a squirrel stops in the middle of the road.
Being an accompanist is very selfless in many ways because you're really just trying to elevate the singer and help them shine, ultimately.
It's not the coolest thing in the world to be walking around humming the Taylor Swift song. It's not as cool to be singing along with the number one song in the country as it is to be the jaded, indifferent hipster who wants to turn you on to something that nobody else is talking about.
Living in New York is like being at some terrible late-night party. You're tired, you've had a headache since you arrived, but you can't leave because then you'd miss the party.
When you visit a foreign city you are in it, but not of it, separated by a glass wall. Once, while a student, I was getting dressed in my ground-floor room when a family of Italians crossed the grass to watch, as if I were laid on for their amusement and instruction.
The Chinese do make vast quantities of wine for home consumption, but you wouldn't want to drink it yourself.
One of the pleasures of staying with friends is that you get to browse their shelves. I always arrive with a book, but I almost never read it. It would be like sitting at their dinner table and opening a packet of sandwiches.
I think the great thing about grandparents is seeing another home, realising that people you love can have different priorities, different diversions, different opinions and lead quite different lives from the ones you see every day, and that is immensely valuable.
I think Tony Blair has to come down on one side or the other. You can't be a half-hearted supporter of the possible attack on Iraq. You're either with George Bush or you're against him.
When you actually see Barack Obama, it's startling how slight he is and how young he looks.
Nothing lives up to what you imagine. It changes, shifts, becomes something else.
When you're a writer in Hollywood, you don't get to work with other writers. You barely get to meet other writers. We're interchangeable, disposable pieces that never really get to collaborate.
Usually, you just have a hero and a villain - in any movie, not just a superhero movie.
The most important thing for me in an action sequence is, you understand the characters' intention and the challenges the characters are going to have to face: what the character story is within the action sequence.
The biggest lesson learned from 'X-Men: The Last Stand' or 'X3' was that if you are going to tell a Phoenix story, tell the Phoenix story. Don't make it the subplot of the movie. Make it the plot of the movie.
I love the 'Dark Knight' movies, and 'Dark Knight' and the last one are well over two hours, and I could've sat there for three and a half hours, so if it's good you have some leeway.
When you're actually inside the experience of writing something, in some ways, you're just writing. Ultimately, you fall in love with the characters, and you get excited about the story, and you're sitting there in your sweatpants or pajamas, and you do get a little lost in it.
There's no question that a vinyl record is a lot nicer than a CD. It's nicer to hold in your hands, you can do more with it.
You're starting to see new record companies and business models taking shape, but it takes time.
And if you look at the reality in the United States, where you have more than 40 million people below the poverty line and 42 million on food stamps, and then you look at poverty around the world, clearly the way we're running the engine of capitalism is not serving us well.
As any speaker will tell you, when you address a large number of people from a stage, you try to make eye contact with people in the audience to communicate that you're accessible and interested in them.
I was a boarding school product from the age of eight, and I hated it. Though I do have a theory that boarding school is good training for writers because it's so desperately lacking in privacy: you make space for yourself by having an interior life.
Guernsey itself was overcrowded, but its cliffs were utterly empty. I spent a wonderful year with a friend, climbing them. It was sheer magic: you went from this pretty, busy village of an island to the sea cliffs and heard nothing but the gulls and the waves.
One of the reasons I wrote 'The Fall' is that climbing's more than a sport, it's a way of life. When you're in it, it's all you think about.
When writing fiction, you only have to know enough to be convincing on the page. I mean really convincing, of course - but you don't need academic depth.
I feel that if you can play on the streets or in a comedy club, then in a theatre it's a doddle because you've got an audience.
Our lives are a sequence of things. When we're alive, they're continuing, just as my words now are an improvisation. So the idea of 30 years is actually quite nebulous. It's impossible to encapsulate it. All you can do is go: 'what next?'
Theatre is about the collective imagination... Everything I use on-stage is driven by the subject matter and what you might call the text - but that text can be anything, from a fragment of movement or music to something you see on a TV.
Any play that's making a point is less interesting than something that stays with you and suggests something further.
I'm naturally attracted to something I don't understand because when you try to deal with something you don't understand, it opens a door into another world.
I allow people to create, but I'm also marshalling everybody, which is difficult for my creativity, as I'm like a referee. Everybody else is kicking a ball. It is very messy. From the mess, though, you refine what is there.
In the theatre, because you're all looking at the same thing in the same space, consciousness is no longer individual. There is a unified consciousness. Until you look and project what is happening, it doesn't exist; the audience are the ones making the theatre, not the players.
As a child, acting just seemed like a natural extension of my love of play - and if you've forgotten how to play, you shouldn't be an actor.
For me, acting is like a holiday. When you're directing, you have a strong sense of responsibility for others. It's exciting but exhausting, especially when you're like me: always wanting to break the rules.
When I was younger, I did not have the strength to jump well enough, but over the years I have gained that, worked on it. But the sensibility you simply have to have.
I have to make myself write, sometimes. In the space between poems, you somehow forget how to do it, where to begin. It was good to be task - based for a while. I just came downstairs each day, picked the one I was going to do that day, and wrote.
If you were going to choose a way of making your way in this world and a place to start from, you might not choose poetry and you might not choose Huddersfield.
It's always difficult when you're on a show that goes for more than a year or a couple of years.
There's more of a family connection when you're working on a TV show. That's not to say that you don't make great connections when you're working on films, but it's different unless you're there working every day.
Sometimes the intensity and the grind of doing television can wear you down, but at the same time there's something about the repetition, the sheer mass of work that you do that's also liberating.
I don't use deodorant. If you drink enough water, you shouldn't have to. I think I smell pretty good without it.
I don't like the idea of talking down to kids. I think I was talked down to, and you rebel against that.
You do need people. You can't live without them. We're all interconnected in some way.
You write who you are somehow. Even if you try to not to. You can't help but write who you are. I'm just not a very cynical person. I believe in the humanity of people, whether it is just the guys in 'The Full Monty' or Aron Ralston.
I believe innately in the human spirit being a powerful and positive thing. And that just comes out, whether you like it or not. It comes out in the writing.
I'm a documentary filmmaker by training. You got to start with the real people and the real place.
What's important in the filmmaking process has stayed the same. Keep it small, keep it personal, keep it authentic, work with people you like and trust. That process is much longer than the filmmaking process. The development process is a long one, so try and say something of importance.
When you make a movie, a dramatization based on the real experience of a living subject, you can't airbrush that away into to a perfect movie arc.
If you don't have to get out of bed and do something every morning, that's kind of a curse.
'Slumdog Millionaire' is a fairy tale, but it starts in a place you really believe, and that came from spending two months wandering around the slums picking up stories and talking to people.
I used to live on a barge - it is incredibly good to write near water. There is an ever-changing landscape, so you never get bored.
British audiences are toughest on British films. So often, a British film is the last thing they want to see. If you please them, you really know you've made an impact.
If you've been nominated for an Oscar, it would be ridiculous to say you didn't want to win. It would be lovely to have one of those statues.
If you work in the studio system in America, they've almost got to the point where a computer programme could write scripts. Effectively, they hire and fire enough writers until they get something generic.
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