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I like to go out on my bike. That's when I do my thinking. Two or three hours on the roads - that's when you get time, and you can think without problems.
Even the best teams, there are times during the year when you cannot win, and you don't know why. Maybe you are unlucky; you make chances, and you cannot score.
You are there to score goals, and doing so shows respect for your opponent, it demonstrates that you are taking him seriously.
When you work, you know you can have some problem with the players. This is normal because the manager wants the players to work hard, play well, and the players should understand this.
It is normal to be under pressure in England and Italy when you arrive in the last two months of the season. Every manager is talked about, and their squad is examined.
You can't force an audience to see something they don't want to see, no matter what it is.
In school, you learn that there are only seven kinds of stories. There's man versus nature, man versus man, man versus himself, blah blah blah. So it doesn't matter what they're called. It's this: do you have a new story that fits into one of those things.
Studios, to cut through the clutter, want recognisable titles. But that does not excuse you, as a writer, from having an original story.
You want to come up with your own points of view first and then test them against what you see.
If something is wrong, it'll prove to be wrong in the wash, and if it's right, you don't want to not expose yourself to it - so I read everything, no matter how horrible it gets. You listen and take it in and if it doesn't sway you, you'll know you considered it.
The great book for you is the book that has the most to say to you at the moment when you are reading. I do not mean the book that is most instructive, but the book that feeds your spirit. And that depends on your age, your experience, your psychological and spiritual need.
May I make a suggestion, hoping it is not an impertinence? Write it down: write down what you feel. It is sometimes a wonderful help in misery.
Canada is not really a place where you are encouraged to have large spiritual adventures.
At the end of a project I get very weird, you know, in my head because I'm not doing it. It's like an addiction. I have to do it.
You decide you're going to do horror, then gosh darn it, do horror. Do what's expected. Don't kind of do it. Don't dilly-dally around, because people really enjoy the genre, and they expect certain things.
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.
I think the toughest thing is to describe what a producer does because they basically do everything. They follow a project from the start through the rest of its life and, along the way, are a part of every single aspect of its growth. It's tremendously enriching, though, because you get to know and live with the movie in its entirety.
The great thing about NYU, and the reason I chose to go there, was the fact that they don't inhibit you as an actor and tell you, 'You only have to study acting. This is it for the rest of your life.' They're really great at balancing other things; you get to study two days a week anything you want unrelated to acting.
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.
There is a saying that every single person in the world has something to teach you. So the more people I get to work with, the more I can learn, and the better actor I will become.
I grew up reading comic books. Super hero comic books, Archie comic books, horror comic books, you name it.
Duncan Sheik and I are trucking along on 'American Psycho,' which is sort of the anti-Superman, you know? But it's a lot of fun, too, in a much, much darker way, obviously.
When you tell people you're a playwright, their eyes sort of glaze over. But when you say you write the 'Fantastic Four' or 'Spider-Man,' they perk up. It's a touchstone that has gained more credibility as artistic expression.
I always believed no matter where you are, as long as you're doing what you love doing, you're going to be happy.
Each blockage is a blockage. Each impasse is an impasse. You have to find a solution; there is no recipe that fits each one of them.
At the WTO, it's never a general surgery. It's always a very specific, clinical, precise surgery - and you can't miss the target. If you miss the target, you kill the patient. It's as simple as that.
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.
In most negotiations, you can't attribute success or failure in negotiations to one side.
Whatever your religion, you have to find internal happiness, which I found.
I lost a lot of finals, so it was difficult. It's sad, and that sadness stays with you, but I always enjoyed the game.
In Buddhism, you have to believe in yourself. You don't believe something external guides your life. You do it yourself.
My duty is to try to reach beauty. Cinema is emotion. When you laugh you cry.
Always I pay. Always I pay. How do you know Gelli? What do you want? How much do you want?
Whoever you are, you will not write this book. I can tell you nothing. Do not call me again. Ever.
When you're playing King Lear, you have to have a little humour, or you will have no tragedy when the king dies.
My tax dollar, which goes to New York State Council on the Arts, is by and large only spent to fund people from the state of New York! And you want to be the cultural capital of the world?
If you see the sunset, does it have to mean something? If you hear the birds singing does it have to have a message?
The first thing you must know as an actor or director is the space you will inhabit. See the architecture; imagine where things can happen in space.
If you take a Baroque commode and put a Baroque clock on top of it, maybe it is not so interesting as when you put a computer on top of it. Then you see both items in a new way.
I did a masterclass at the Juilliard and asked the students, 'Can you stand?' 'Sure.' 'Can you walk?' 'Sure.' They couldn't. They had never really thought about it.
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 human beings are quite likeable if you do not see too much of them.
Of course it is a very simple matter to identify genes which might modify intelligence or memory and start thinking about whether you want to enhance a human, and the next generation is going to have to deal with that issue. Should we be trying to enhance humans rather than trying to educate them and so on?
You can now modify the genes of large animals, and the largest animal we are concerned with is the human.
The trouble with climate change is it's an extraordinarily diverse and complex issue, but for example if the BBC would let me make some of the programmes I'd like to make on climate change, I bet you there would be a change of emphasis.
You can't be judgmental about babies. They are all have different needs. I was left with an enduring hatred of cheese because it was forced down me when I was young.
You can't tell any kind of a story without having some kind of a theme, something to say between the lines.
You look back on films sometimes and if they have not been as all-out successful as you anticipated you try to find reasons why maybe it didn't come off for audiences as well as you would have liked.
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.
As I've always said, preproduction is so important. When you cast the actors, you've done much of the work. Now, you may need to guide them a little, take it up or down, have them go faster or slower, but the casting process is crucial.
My three Ps: passion, patience, perseverance. You have to do this if you've got to be a filmmaker.
People are quite shocked when you remind them that Elvis Presley and Frank Sinatra never wrote a song that they recorded in their lives, as far as I know.
Love is blind. My politics has been, too. I think you can fall in love with ideas, and you can fall in love with people. It's a very subjective experience. And I'm loyal to that experience.
If you've never felt that you quite got a hold of it, you just feel that before you die, you've got to try and get it right once. And hope that the experience you have makes up for the some of the diminishing energy.
I don't find the business easy. The moment you start talking about the business, you start sounding like someone in Spinal Tap.
People say, oh it's a shame, you're not nostalgic about the '60s. Well actually, it's quite good, when you think of it. Wouldn't it be sad if I was sitting here wishing it back?
I don't know how many thoughts we have a second, but it's quite an amazing number, and just to pin down the appropriate sequence of those, all you really need is a pencil and a piece of paper.
In the next couple of years, part of every film's process is going to be to adjust the images. And it'll be to change the color of an actor's tie or change the little smirky thing he's doing with his mouth. Or you can put in more clouds or move the tree a little bit.
No one can actually define love, but you attempt to, and the closest you can get is longing. And that itself has a melancholy to it. You can say dread, or doom - it's that feeling we all feel when we fall in love with someone: we have this horrible, fearful feeling that maybe we will never have that person in our life.
'I Wanna Hold Your Hand' and 'Used Cars' were absolute failures at the box office. Complete disasters. I learned some sad news: it's not an automatic thing that, if you make a good movie, everyone wants to see it.
We have this sort of tacit censorship, which is the ratings system, and it's directly tied to box office, so it is censorship. Like, if you make an R-rated movie, you know that only a certain amount of people are going to go see it under any circumstance.
It's the most unrealistic thing you can do to shoot a close-up, and it's the most unrealistic place you can be as a performer. And yet actors grouse about having to do visual effect shots, but they love doing close-ups.
I think that technological tools that filmmakers use to tell stories, in a perfect world, need to become invisible. When it's brand new and it's never been seen before and you're birthing this stuff, it's very much on people's minds.
You can't 'control' a Mars mission from Earth. The Mars mission is going to have to be controlled by the people on Mars... There is just too much involved that is out of sight of Earth.
Just think how much poorer we would be today if the world would have had half as many people in the 19th century as it actually did. You can get rid of Thomas Edison or Louis Pasteur; take your pick.
In the courtroom of science, if you have the facts on your side, you don't need a gun - and juries would be well advised to distrust the case of those parties who choose to use weapons to silence adversarial witnesses.
Can we achieve 140 mpg fuel economy? You bet. Just get the bureaucrats out of the way, and Yankee ingenuity will do the rest.
Once you're successful with a certain kind of music, it's hard not to have faith in it as a means to stay successful.
Remember: Always walk in the light. And if you feel like you're not walking in it, go find it. Love the light.
You never know when contemporary art is going to insinuate itself into a normally art-free zone.
When you're a guest star on TV shows - particularly in the 1960s - you're always the villain.
You see, some non-Catholic friends of mine have questioned the depth of my faith because of the fact that I have a good education.
I suppose you could sum up the religious aspects of my boyhood by saying it was a time of life when I was taught the difference between right and wrong as it specifically applied to Catholicism.
I've made somewhere around 150 pictures, and a lot of them are B-pictures, I can tell you that. I'd say there's about one hundred of them I don't remember.
If I could earn the living that I earn in motion pictures and television in the theater, I'd be doing theater. But you can't. Nor come even close to it.
It isn't the mountain ahead that wears you out; it's the grain of sand in your shoe.
The only society I like is rough and tough, and the tougher the better. There's where you get down to bedrock and meet human people.
Write verse, not poetry. The public wants verse. If you have a talent for poetry, then don't by any means mother it, but try your hand at verse.
What you have with the Bond movies is this character gliding over everything. The fact nothing touches him is why we all want to be him. But it also makes him a sort of superman who in the end you don't really relate to.
I wish there was some way to get the law changed. They can write anything about you after you're deceased and there's nothing you can do about it.
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