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To sing a song is quite different than to write a poem. I'm not and never will be a novelist, but to write a novel is not the same thing as writing a play. There is a difference in form, but essentially what you're after is the same thing.
In real life we don't know what's going to happen next. So how can you be that way on a stage? Being alive to the possibility of not knowing exactly how everything is going to happen next - if you can find places to have that happen onstage, it can resonate with an experience of living.
You sometimes use the excuse, 'I'm a writer, dammit, I can do anything I want,' but that doesn't work.
There are certain times you realize you've got too much money. One was when I started getting bills from the Koi hotel. When I was remodeling the Koi pond, the Koi had to go to the Koi hotel. They ended up staying there for 13 months and I never asked what the bill was.
Even now I doubt myself. I don't understand what people hear in my voice. I can't hear it myself, if you know what I mean.
Hearing a whole entire room sing back to me, 'I guess it's true I'm not good at a one-night stand,' you know, I just can't explain the feeling. It's unreal. You feel like you've just read your diary to thousands of people and they've gone, 'It's okay. We still love you.'
'Stay With Me,' for me, is my own personal anthem to the 'walk of shame...' that we've all gone through. It's the feeling after a one-night stand of not wanting that person to leave, even if you don't love them and don't even like them. It's about having that body next to you.
I don't understand why you have to wear a wedding ring to warn people off. You should be able to be faithful to that person without anything on your body to show that you are with someone.
Until you play it, St. Andrews looks like the sort of real estate you couldn't give away.
Never let up. The more you can win by, the more doubts you put in the other players' minds the next time out.
To be consistently effective, you must put a certain distance between yourself and what happens to you on the golf course. This is not indifference, it's detachment.
In my life, I've never really listened to when people start forming opinions on how you should be doing things.
I don't get sick of being naked, but the added pressure is staying in really good shape, because naked shape is a different kind of shape than just regular TV shape. Regular, having-your-clothes-on TV shape is intense, but naked TV shape is, I mean, you really have to watch what you eat.
When you have kids, for me, it really changed me. I was always empathetic to other children, but now I'm so much more sensitive to children that aren't my own.
When you get into Louisiana, it really is like a different country in a lot of ways. The plants you see are a little different, like the weeping willows and the cypress trees that come up out of the bayou. And it's steamy hot.
In the country, it feels like you don't have control over nature anymore - nature is in control of you.
There's also the tradition of voodoo, the Haitian magic arts, in New Orleans. And because New Orleans is below sea level, when they bury people in New Orleans, it's mostly above ground. So you have this idea that the spirits are more accessible and can access you more easily because they're not even buried.
If you have music that sounds like what you cover, people won't be able to differentiate who you are.
The special relationship between twins is that, if there's anyone else in the world that's going to get or be the confidant that you need, it's an identical twin.
I always look for interesting, complex characters. You know, interesting, well-written material.
One of the reasons I loved working with Tom is people feel they know who he is... I think working with an actor who the audience already has a relationship with actually helps you in a film like this.
It's a risk casting anyone against type or what they're known to do. But there's one thing better than having a great actor, which is having a great actor who's never done what you're asking him to do. He's hungry to get out of the trailer every day and hungry to test himself.
You've got to believe as a filmmaker that if a movie's good enough, it's going to survive; and if it's not, well, it won't.
I don't think of it as a competition - which might surprise you, given the way movies are reported constantly.
You freeze with the number of opportunities given to you and just decide to do nothing at all.
You've got to work. You've got to want an audience to sit forward in their chairs sometimes, rather than sit back and be bombarded with images.
You just never know when movies are going to take off or not. The lucky thing about this was that it didn't cost a lot of money, and therefore there wasn't loads of pressure on me.
It took me a long time to film the plastic bag, and then I had to get the cut of the scene right. But if you find it as beautiful as the character does, then suddenly it becomes a different movie, and so did he as a character.
Thank God I don't live in Los Angeles. I think if you're there the whole time it just gets out of proportion and you lose touch completely with reality.
Listen, you make a big movie, you're going into the Coliseum, and people are going to give you the thumbs up or the thumbs down. And that's part of the game. It's part of the fun as well.
I bought a Fitbit, actually, and I just thought it was going to be an awesome way to track how I live and move and burn calories, but with gymnastics, it was a total waste of money because it's more based off how you walk and not how you flip.
With how much stress I have every day in the gym, you need a little time to get out and just be whoever you want to be.
I know everyone has Olympic dreams, but if you really think about it, you just don't want to go to the Olympics. You want to be a gold medalist at the Olympic Games.
'Finding Dory' just stole my heart. Little Dory was the most adorable thing in the entire world, and Ellen DeGeneres killed the game. I liked the flashbacks to the past - it gave you a bit more perspective and appreciation for certain characters.
I like to be in control of my own athleticism. If I win, I don't want it to be because of my lucky underwear, you know? I want it to be because I put forth the work.
Learning how to compete is one of the most important things that an athlete can do. You can train as well as you possibly can and go compete and completely choke.
You can freak when you are at the Olympic Games. There are millions of cameras. Everyone is watching every move. Some people will trip where they would never trip in a routine. It's the small thing that nerves really bring out in people.
I can tell you where I was when Kennedy was shot - which was in the common room at school. I heard about it on the old valve radio. At the time of Armstrong's landing, I was at university rehearsing a play.
I can never really remember what I look like. I'm just sort of neutral. I don't think I'm sort of, you know, hideous.
I think you need brains to do any Shakespeare with any authority. I could do Shakespeare, but not with any authority.
If you want to learn about America, watch 'The Wire.' It's a profound piece of entertainment.
If you're making a horror film, it's very important that you have lots of quiet, suspensey, don't-know-what's-happening stuff before you get the big fright.
Do you know, I'm not as much of a moviegoer as I should be, and I do end up - because I'm travelling so much - I end up seeing movies on aeroplanes, which is the worst possible way to see a movie!
It makes the day considerably more enjoyable when you're working with people you think are good, and it makes your job easier, too.
If you're making films in New Zealand, you can't avoid the landscape. It's certainly more handsome than I am.
If you break up with a girlfriend or a boyfriend, you're in this vulnerable state where you're still kind of half in the relationship with them, but you're single, and it takes a while to feel solid in yourself again.
For me, I guess music has always been the through-line. You know, I played guitar from a really young age, and my dad played, and my cousin gave me a drum kit when I was 13, and I played bass guitar, so, you know, it was definitely always in the house.
You do get used to the ups and downs, the rejection of auditions and not getting parts, and so when you do get a job, it feels really special, and you try to hold onto it for as long as you can.
In real life, if you really enjoy somebody's company, and you have a great time with them, and then you're supposed to - becoming two lovers who are having a great time in their own fictional world, I think it bleeds into reality and vice versa.
Feeling has as much to say as the words do. You can have the greatest words in the world and if they're not believable, they don't strike a chord and they're not said convincingly, it's not a great song.
You know, I put my little brother in the movies and he's still in the pictures. My mother makes me put him in the pictures.
You cannot be a leader, and ask other people to follow you, unless you know how to follow, too.
Son, always tell the truth. Then you'll never have to remember what you said the last time.
You'll never get mixed up if you simply tell the truth. Then you don't have to remember what you have said, and you never forget what you have said.
I believe in operating in the big middle of the electorate and not being to the far right or the far left. I think you get so much more done.
Performing in Detroit or performing in Chicago, you're on your own turf, but when you tour a show, the audiences change. You're in a completely different space; sensibilities change. I think I learned a lot from doing that - how written material works in different places, learning to have confidence, learning the idea of how to be adaptable.
When you grow up with siblings, you can be like, 'Isn't this weird? Isn't this funny? Do we agree on this, or do we disagree?' You have some point of reference, some touchstone. When you grow up an only child, everything is internalized.
I was one of the only ones there interested in acting. You find when you're doing school plays that a lot of people there were on punishment, or something.
'On the Road' is another one of those, a film in which the audience has a very clear idea of who they think your character is, so you know you are asking for it. But that's the challenge.
Part of what makes your performances more convincing is that your own image isn't getting in the way. And the more you can keep it like that, the better for your work and your state of mind.
You do have to learn how to wear a kilt, and it's certainly very liberating and very freeing, but surprisingly very comfortable to wear, to ride a horse in a kilt. I was surprised by that.
I never once dreamed of sort of being able to be in an American TV series, you know? It was all about theater and touring and sort of being an actor around Scottish theater.
Shakespeare language is fantastic, and to be honest, you don't need to do anything to Shakespeare.
People forget actors can adapt and change their appearance. In this industry, people sometimes cast to type, or as close to type as possible, but actors are a lot more versatile than you think!
It's always nice when someone comes up to you and tells you they enjoy the show. At least they're not coming up and saying how much they hate it.
Maybe I'm a glutton for punishment, but I enjoy anything where you get to flex your acting muscles, you get to really go for it.
I think trust is the most important thing. If the actors and the director and the crew trust each other and you set up perimeters and boundaries, you give everyone space to do great work.
I've done quite a few things based on real events or real people, and I think that's always really interesting that you can read about them or, if you're lucky, you can meet them.
I think every job I do, I sort of look for the challenge in. I mean, that's why we do this job. It's not, you know, obviously not for the money or for the fame, it's for, I guess finding out more about yourself.
Female clothing seems to be extremely difficult and almost like a puzzle for a man to take off. But I think if you get there, you win. A kilt is the complete opposite. The kilt is so easy to take off.
Wherever you go in the world, Batman is known. Everyone has an idea of what he should be like.
Glasgow is certainly a place where they will tell you if they don't think you are anything special.
I'm conflicted about the lyric tattoo thing. I feel like that's a lifetime decision, and I always feel like, 'I hope you don't regret this a couple years from now when you get tired of that song.'
I think that people in general appreciate honesty and not trying to cook something up just to fit a mold that would be beneficial for you. I never made music like that.
When somebody's never heard you, that's the way to do it: Just give them music for free and let them decide for themselves if they like it or not.
You want to stand out and be unique and do something different. I always try to zig when they zag - I guess it's a football term, but it applies to a lot of different areas of life.
A good story gives you more of a license to be forward and progressive with the music.
I kept hearing all these rules: 'You can't say that in country music.' 'You can't use that kind of beat.' I became so frustrated. It may have slingshotted me, in a rebellious way, toward doing something different.
To all my people back in Nashville who have been there from the start, you put your faith in me. You were there for the long haul.
You get to a place where you do your job, and then you dust your hands off and say, 'Okay, my job is done. Now, it's in the stars. We'll see what happens.' There's nothing I can do to affect it.
I can tell you Kristen Hager is one of my all time favorite people to work with ever and one of the greatest scene partners, and I'm such a lucky guy.
You reach a point in your career when the weeks turn into a month or more of the phone not ringing.
There's something about the expanse of nature that forces you to think clearly.
Once you start to try and calculate why you were cast and why you weren't, you get in trouble.
I think, doing a first film, at some point you get halfway through, and you wonder, 'Is this is good enough to define who I am for the coming decade?'
Genes work with probabilities; they don't work with certainties. So most things that you're looking at with these genetic tests, it's not like you're condemned to automatically get the disease or the syndrome. There's a lot of factors in play there.
The more that I looked at DNA, the more I realized it was nature and nurture. It's how genes and your environment work together to produce the person you are.
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