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Yes, I hit with heavy top-spin, but when you look at the little rackets I played with, the Maxply Dunlop, you had to hit the very centre all the time. I had my share of miss-hits.
We were pretty darn good - fit and ready to play - but today's level is different. Those ground strokes are ever so much faster, coming back at you at a pretty good speed. Footwork-wise, you've got to be ready to hit that next shot. It's a tough time.
As a tennis player, you have a record, and that is what counts. I feel like I enjoyed myself, and I'm proud of what I accomplished.
Each match is a huge effort from a physical point of view. You can only hit so many balls before your elbow or some part of your body is going to say, 'Hey, don't do that to me.'
Looking back, in comparison, there wasn't that much that you could do with a wooden racket. In my day, the matches were certainly much less demanding physically.
Somebody - and I'm going to guess it was Hitchcock - once said that everyone has their reasons. If you remember that, as a writer, you'll write better than average villains.
I was just nine years old when 'Straw Dogs' came out, so I can't really speak to the women of the time, but I can tell you that the women of 2011 are not put-upon, and they're not victims.
When you do a freeze frame, you have the opportunity to find the exact shot that you want - no guessing.
Whenever you make a movie, when it's done, as a filmmaker, you never sit there and say, 'Boy, I really got that right.' It's, 'Where did I screw up?'
If I have to answer one more time, 'Why did you want to remake 'Straw Dogs?'' with the emphasis on the word 'why,' I'm going to flip out.
Some nights I lie awake at night thinking, 'What's going to stop someone from smashing a chair through my window and coming in the house at two in the morning?' It is very unnerving. It's a realistic scare, which is the worst kind of scare that you could have.
Finding out you're able to do something doesn't necessarily mean you want to do it.
When you make a movie like 'Straw Dogs,' your goal is to have people's eyes remain glued to the screen. It serves you no purpose to turn away from the screen.
What makes a man is when you go against your own instincts to do to the right thing.
The truth is that I have never created a president to push a political point of view. I am often looking to create aspirational characters; that's true. But, you know, in the end, it is really up to the actor in front of the presidential seal to decide exactly what kind of president you're going to get.
You will never - and I mean never - be able to figure out if I was an Obama guy or a Hillary guy.
He may not have been a good actor, and I personally don't think he was a good president, but I'll tell you this: Ronald Reagan was a helluva character.
I'll tell you this: you can look at all the masculine toughies you want - the Ben Roethlisbergers, the Russell Crowes, the David Petraeuses - but if you want to look at what a man should be - persevering, honest, a person who manifests his intellect into action - you need look no further than Roger Ebert.
I loved going to the movies, especially when I was a teenager in the seventies. How couldn't you in what was perhaps the greatest era of auteur cinema?
You know, in a way, I wish I could hate a little more. It would make me a more rounded personality.
It seems to me that it's every man's obligation to make what contribution he can. You live each day as best you can. That, to me, is what makes life interesting.
You know raising a family in the lifestyle of a professional athlete can be very difficult.
But what I'd really like to tell you is I never dreamed of being in the Hall of Fame. Standing here with all these great players was beyond any of my dreams.
You know over 20 years I played for a number of managers and dozens of coaches. I don't know any of them that I didn't learn something from to help make me a better player.
You know no one ever accomplishes something like this without a lot of help from good people along the way. And this is certainly true in my case, and I would like to thank some of those people.
You know, when I was a young boy I used to play baseball in my back yard or in the street with my brothers or the neighborhood kids. We used broken bats and plastic golf balls and played for hours and hours.
I'd say it's harder to play with an acoustic guitar strapped over your shoulder for a few hundred people than it is to play in front of thousands with an entire bombastic band behind you.
After all these years, I still get nervous in front of people. I can't help it. I just, you know, I want it to be a good show, and I want people to get their money's worth.
I hope the best for anybody in this business. It's hard enough as it is, and of course you don't get much respect from anybody, but when you do, you should appreciate it.
I remember Robert Plant coming backstage after the first show saying, 'Hey, boys, I should be opening for you.' That felt pretty good.
I think we've got three that we have to play, and that would be 'Surrender,' 'Dream Police' and 'I Want You to Want Me.'
Playing in New York is special to me because you are surrounded by so many communities and a strong Latin community, including the Washington Heights neighborhood. I come to Washington Heights for real Dominican food that reminds me of my hometown, and it's a great place to visit.
When things go well, people like everything you do. When things don't go well, people look for 1,001 explanations, and they don't understand you're a human being.
Sometimes I play without any strength or energy, but you have to play, give the best of yourself.
I would say for a team to win, you don't need big names. You just need the right pieces.
One of the best things is to be able to go to the playoffs and win a championship. After you taste the first one, you want to go back every year.
When you play this game, you're not just playing for yourself and your fans. You also play for a name you have to represent. You have a family that's hoping you do good every single day.
I think that girls are always expected to have opinions about each other, and maybe I don't have an opinion about some things, you know?
The music industry used to be able to control a single dance on the very smallest level of when people are supposed to hear it, and when they're supposed to start liking it, and when they're supposed to start buying it. And that's trashed, you know, that big machine that takes control and works albums for a long period.
When you're 17 and you have an idea, people don't really listen to you. I came out of an environment where my parents were always pushing me to do what I wanted and be creative, and I was not used to the industry's way of thinking.
Everyone deals with sadness and lack of love when they're kids, and all this abandonment. Most people do. Hopefully you want to learn something new, and you want to move on to this other place, and I think, for me, it was like, I really didn't know how to calm myself down.
When you're listening to club music, there's no reward. The reward isn't, 'Oh, here's the chorus, here's the lyric that makes sense.' You have to enjoy what it is. You have to enjoy that there's no conclusion.
That excitement of how music makes you want to dance - that's what got me back into it, and that's what 'Honey' is about. Me just being able to enjoy myself again.
Filming costs so much money, so it's such a nerve-racking process, whereas being in a studio is quite cheap compared to that, so you have more time to work on things until you feel good about them. That makes it easier to explain a certain feeling and be in a vulnerable place while making sure it does what you want it to do.
I don't know much about making films or TV programs, but what's cool about being in the studio is that you have more time.
My husband was an Air Force pilot man years ago and recently an Air Force wife thanked me for my service! I laughed and said, 'No, I wasn't in the Air Force, my husband was!' And she smiled and said, 'If he served, you served. And thank you.'
The two important things I did learn were that you are as powerful and strong as you allow yourself to be, and that the most difficult part of any endeavor is taking the first step, making the first decision.
You apply the skills you use to produce your own book to make an anthology. Shaping. Rhythm.
Its highest point was The Worst Journey in the World. Then you see this decline, and this harking back, using the 19th-century form when we're not in the 19th century. That way of writing a book about the world out there - you just can't do it anymore.
You really can expand the boundaries of your life and do risky things and prove yourself by doing them.
You can trick yourself into doing things by doing it one step at a time and never letting yourself see the overall picture.
Life's the adventure. You don't have to drop your bundle and go bush. It's about being brave within the context that you're in.
If you are fragmented and uncertain, it is terrifying to find the boundaries of yourself melt.
Every so often you have to increase your profile so you can let it lower again, like a balloon.
You realize that the first Bryan Ferry album was pretty good although at the time it seemed a bit cheesy.
When you think about great teams, The Beatles and the Pythons immediately spring to mind. The Pythons were as much a part of their time as The Beatles.
I can think that you are mistaken, but I have to be ready to give my life to maintain your right to make mistakes. I have to, though, have the right to say that you're mistaken. This is the principal of the liberal society.
If you search for poverty, you'll find it, often in the family. Why? Because the family makes this great investment, from which we all benefit, but for which no-one helps. We have to point the spotlight on the family, and make political choices that sustain the family.
Be curious, learn and read as much as you can about food. Don't worry about making money. Focus on learning at various venues before you settle down for a steady position.
'Gone Home' is a game about exploration, and everything you'll experience is tied intimately to the space of the spooky house around you. Your task is simple: Poke around.
Prediction just means you saw where the world might be going: ho-hum. Influence, though - ah. Influence, direct and acknowledged, means you actually steered the world, even if only a tiny bit.
When you're writing for the Internet, you have the analytics, and you know that people are bailing every second. But various people kept reminding me that once people have bought a book, they're in. You don't have to be selling them on every page.
I got a bike - a fixed-gear with bright blue wheels, custom-made to my specifications. I am a San Francisco techno-hipster, so this selection was a bit of a self-caricature. But sometimes the predictable thing turns out to be the best thing, too, and you can't let that stop you.
When you've biked only on quiet cul-de-sacs and college campuses, the idea of riding in the city, right up there alongside the cars, seems, frankly, pretty absurd.
Print books have an amazing superpower because they don't disappear when you're done with them. Books on the shelf remind you that they exist.
It turns out you can train a neural network on a big body of text. It can be Wikipedia; it can be all the works of Charles Dickens; it could be all of the Internet. They can use grammar and put words together in interesting and convincing ways - and, I think, unexpected and beautiful ways.
For me, writing in public is actually super energizing and so much fun. Especially when writing can typically be really painful and certainly hard, and often, you're staring at the page and thinking, like, 'Uh, is this any good? What am I doing?'
To be a part of your biggest days - you know, your child being conceived or born, or you walking down the aisle - there's really nothing sweeter. That's the truth.
When I wrote for Jordan Knight, I was 17 or 18, they were pretty much the only songs I was writing. By the time people like Christina or Usher came around, I was able to know that I was writing for different points of view and people that might not want to say certain things. So you have to be considerate of whichever artist you're writing for.
When you start believing you're something special, then you're not going to be striving to move forward.
The ability to make music is a gift that you're born with; it's not something you can learn.
I wouldn't count myself as being a true blues guitarist because I feel you have to live it.
I have done some things that I'm very proud of. I don't think you can say any more than that, really.
Now I know a lot about my body, like how important it is to eat well, as it makes you stronger in the end and helps prevent injuries. Or when you train, do you just start to shoot, or do you have a good warm-up first?
I live on having a challenge when the line is really thin. I like it the most when you have no clue what is going to happen.
I've worked with some brilliant coaches, and I've taken a real interest in all the methods they use and the choices they make. And I can tell you that Moyes's sessions and the things he says in his team meetings are spot on.
Arsenal will always come first. You name them - Henry, Vieira, Pires, Bergkamp. People saw these stars shine, and they thought: 'Is there life after Vieira, Pires or Bergkamp?'. But look at what happens here. At Arsenal, you always see young, fresh talent grow into the same role as those stars who have left. Other players have replaced them.
Great players must always produce and at any time or in any game. Give them a ball and a pitch, and they will show what they've got. That relaxed, calm spirit you don't really have when you are young.
It's such an obedient way to be for a woman, to try to keep yourself in top shape, to follow all the rules and hope that will get you a measure of stability or happiness. That's part of the affluent suburban dream: to do everything perfectly in a long-winded way, to try to fulfill all the requirements.
I left school and couldn't find acting work, so I started going to clubs where you could do stand-up. I've always improvised, and stand-up was this great release. All of a sudden, it was just me and the audience.
I basically started performing for my mother, going, 'Love me!' What drives you to perform is the need for that primal connection. When I was little, my mother was funny with me, and I started to be charming and funny for her, and I learned that by being entertaining, you make a connection with another person.
I used to think that the worst thing in life was to end up alone. It's not. The worst thing in life is to end up with people who make you feel alone.
Having George W. Bush giving a lecture on business ethics is like having a leper give you a facial, it just doesn't work!
When you look at Prince Charles, don't you think that someone in the Royal family knew someone in the Royal family?
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