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Don't let the opinions of the average man sway you. Dream, and he thinks you're crazy. Succeed, and he thinks you're lucky. Acquire wealth, and he thinks you're greedy. Pay no attention. He simply doesn't understand.
How many millionaires do you know who have become wealthy by investing in savings accounts? I rest my case.
I don't like twists. I don't get much out of them. If you know two cars are about to run into each other, you don't walk away and say, 'Oh, I know what's going to happen.' You watch.
You're going to have to surrender a little bit to the contrivance of how Freddy and Jason get together.
Sometimes jobs are jobs, and when you guest star on television, you're also working with a guest director. You're the new kid on the block, because everyone else is already in the ensemble.
I actually sing horribly, but I used to dance pretty good. I was a gymnast, and you can usually use those gymnastic tricks with dance. Plus, they're so much fun to do. That wasn't really a big part of my career. It was just a phase.
I just finished my 62nd or my 63rd movie here, and you know, I do good ones, I do bad ones, I do big parts, I do small parts, I do cameos - but I've allowed myself a pat on the back, because I realized that I've been working in Hollywood now since 1973.
Some actors get by with behaving, not acting. You've got to sell the effect. I act more in the 'Nightmare' movies because it's not like me. I'm acting, not reacting.
We all have to change with the times... it keeps you younger; it's a new challenge.
I'd rather be Vincent Price than a red-neck character actor. You can't predict what will happen.
When you see Robert Englund in a movie, you think he is the bad guy, but if I'm not the bad guy, and I'm supposed to just kind of fool the audience, it makes it a lot easier for whichever actor is the bad guy. So I find myself doing a lot of those, I think they're called red herring characters, faking out the audience.
The truth of it is when you get an audience to laugh and camp along with you, it's much easier to scare 'em again because they're using two sides of their emotions. It's much easier to set them up for a good cheap thrill scare again.
It's real simple - we all have nightmares, and the idea you can be in real jeopardy in them is a great gimmick. It's universal.
As a jobbing actor, you can't afford to be choosy; if you're typed, you're generally working. I still feel that way, and the thing is, even within the horror genre, I now get to play all kinds of different roles.
I'm scared by the enormous amount of bottled water being consumed today, instead of people drinking filtered tap water. Did you know that nearly 90 percent of those plastic bottles are not recycled and wind up in landfills where it takes thousands of years for the plastic to decompose?
Death by plane crash scares me. I travel a lot, and when you hit turbulence, and post 9/11, that's in the back of my mind a bit.
As an actor, you need everything you can get to be truly scary and truly memorable.
I learned at a very early age, the easiest thing in the world is to tell the truth, and then you don't have to remember what you said. It has nothing to do with morality, just remembering what you said.
In every place there are 100 people who can say no and only one person who can say yes. You have to get a good piece of material to the right person.
When you have a crime against humanity that is so awesome in scale and death, it is more than permissible to look around and say, who recently has been declaring war on the United States? Of course, the compass points straight to bin Laden.
In one way, I fear all Damascus is a dungeon. Or do you have to live here to appreciate that?
A businessman admits that he 'let go' an employee because he was a Sunni Muslim. You simply have to look after yourself, he explains. I am shocked, like a good Westerner should be.
And it's true, you hear things in Damascus and, after a few hours, the human double-take stops operating.
I'm not sure whether I've been happy. After my last book tour, I sat on my balcony with a cup of tea. I thought: 'You can't rewind the movie. I've spent more than half my life in the Middle East. There have been great moments of horror and depression and loneliness.'
When you’re on tour. there’s a contract between you and the audience: do what you want, as long as you do what we want. You’re having to play with the past at every gig.
You can quite happily exist in your own version of the world built around you, which you can build for yourself.
I mean, I love buying albums, I’m obsessed, but now you just click ‘add’, don’t you? And when do you actually listen to anything? You know, unless you’re in the car or you’ve got time to do that, it’s just not the same world any more in terms of concentration.
After touring an album, you have this strange void that follows it, where you feel slightly displaced, like you've just finished with the circus and you've got to find a new job. You think, OK, what shall we do next.
When you look at Banksy's work as a catalogue of ideas, it's undeniably brilliant. Going back to my days doing stencil work back in the 80s I knew that it wasn't exactly the most demanding work: it's like printing, but then Warhol was a printer.
A hundredth of a second here, a hundredth of a second there - even if you put them end to end, they still only add up to one, two, perhaps three seconds, snatched from eternity.
The marvels of daily life are exciting; no movie director can arrange the unexpected that you find in the street.
Nowadays people's visual imagination is so much more sophisticated, so much more developed, particularly in young people, that now you can make an image which just slightly suggests something, they can make of it what they will.
Chance is the one thing you can't buy. You have to pay for it and you have to pay for it with your life, spending a lot of time, you pay for it with time, not the wasting of time but the spending of time.
Tell me a country that is doing well and has a great leader? You look at the nuclear weapons all over the place, and you look at things like ISIS, and every country seems to have a battle going on.
Life is too easy when you're a movie star. People will do anything you want and get you anything you want.
Even with the lowest budget in the world, you better get some names in there; that calms people down. Then be sure your leading character is in a hurry.
A movie can't change anybody; it can only confirm what you already believe.
I don't want to go all Michael Jackson on you, but I never really had a childhood.
I think you end up doing the stuff you were supposed to do at the time you were supposed to do it.
I think that the power is the principle. The principle of moving forward, as though you have the confidence to move forward, eventually gives you confidence when you look back and see what you've done.
One week, you can have a real heavy romance 'Chuck' episode, and the next week it can be some kind of murdery mystery. It's not like doing a procedural.
You really have to soak up the culture of the people to get it right. If you're making a fiction film, it's entertainment, but you want it to be as real as possible.
You get below the Mason-Dixon line and you have some of the best music, culture, the two races, the literature, and it's so rich.
We all have a cradle-to-the-grave journey to make and, in between, what do you do? There's got to be something hereafter.
Very often some of the religious miracle plays you see on television can be very corny, I find. And so simplistic.
I wanted to show that crime doesn't pay. If you are saved and accept the Lord, you cannot use that as an excuse to avoid punishment.
I've always remembered something Sanford Meisner, my acting teacher, told us. When you create a character, it's like making a chair, except instead of making someting out of wood, you make it out of yourself. That's the actor's craft - using yourself to create a character.
It's like kids playing house: 'You play the father, I'll play the mother.' You know, you dress up, you play, they pay, you go home. It's a game - acting's a game.
Some people say, 'Do you have any theories on acting?' And I say, well maybe: I think you can start with zero and end with zero. You don't have to go anywhere, you don't have to go for the result.
You know, Hollywood sometimes tends to patronize the interior of the United States. As Horton Foote used to say, the great Texas playwright, that a lot of people from New York don't know what goes on beyond the South Jersey Shore.
Sometimes you don't prepare much. I mean, when I did 'Lonesome Dove' way back I rode horses day and night for like three or four months, and that got me ready for that.
Some Russian ballet master woman said there's no culture in America, but if you look you can find interesting stuff in this country, don't you think?
Well, it's like my movie, 'The Apostle.' Some people in the North don't get that movie. They think that, in the South, if you don't shout, you can't play one of those guys.
But for me, the challenge is how you turn a character into behavior. Once the director says 'action', you just try to live between those two worlds.
Way, way, way back I played a little bit, but I am definitely not a golfer. You know, it just takes too much time anyway during the course of the day.
Sometimes directors will hire you and say, 'Oh, we love your work.' And then they start to tell you how to do it. I say, 'Hey, man, back off. You hired me to do it. Let me do it.'
Look, Hollywood's a mecca, but it's not the final answer. You pick up a camera anyplace in the world, you can make a movie.
Seeing your name on the list for KP or guard duty when you're in the Army is like reading a bad review.
A young actor once asked me, What do you do between jobs? I said, Hobbies, hobbies, and more hobbies.
Hollywood's a mecca, but it's not the final answer. You pick up a camera anyplace in the world, you can make a movie.
Get correct views of life, and learn to see the world in its true light. It will enable you to live pleasantly, to do good, and, when summoned away, to leave without regret.
You must study to be frank with the world: Frankness is the child of honesty and courage.
Say just what you mean to do on every occasion, and take it for granted you mean to do right.
If a friend asks a favor, you should grant it if it is reasonable; if not, tell him plainly why you cannot: You will wrong him and wrong yourself by equivocation of any kind.
Never do a wrong thing to make a friend or keep one; the man who requires you to do so is dearly purchased at a sacrifice.
If you have any fault to find with anyone, tell him, not others, of what you complain; there is no more dangerous experiment than that of undertaking to be one thing before a man's face and another behind his back.
Do your duty in all things, like the old Puritan. You cannot do more; you should never wish to do less.
Again like Williams, with the emphasis now regrettable, when a man makes a poem, makes it mind you, he takes the words as he finds them lying interrelated about him.
Don't name it, as they say, because instantly you offer it to this peculiar authority.
First you wonder if they're separate stories, but no, they're not, they're contingent stories and they form a pattern. And you begin with some of the island as the place to which the heroine of the book returns.
The awful thing, as a kid reading, was that you came to the end of the story, and that was it. I mean, it would be heartbreaking that there was no more of it.
You were saying that once when visiting Yale, you were struck that unlike Pound, Williams's thinking was volatile, I mean, did not stay locked into a pattern of concepts that then defined his subsequent necessary behavior, whereas Pound did.
If you want to go into space first time on a new vehicle that's never been flown, you want to go with a pro.
Living inside the shuttle was a little like camping out. We ended up sleeping in our seats. You had to pay attention to housekeeping, not get things too dirty.
Looking down at the Earth, you started to pick up a sense of speed much more than I had noticed on orbit.
When you work really hard for something for a long time it's almost impossible to believe that it's coming true.
You're going very fast when you're on orbit, going around the world once every hour and a half.
Killing yourself is a major commitment, it takes a kind of courage. Most people just lead lives of cowardly desperation. It's kinda half suicide where you just dull yourself with substances.
When people say 'What are underground comics?' I think the best way you can define them is just the absolute freedom involved... we didn't have anyone standing over us.
You must thank the gods for art, those of us who have been fortunate enough to stumble onto this means of venting our craziness, our meanness, our towering disgust.
With comics, you've got to develop some kind of shorthand. You can't make every drawing look like a detailed etching. The average reader actually doesn't want all that detail; it interferes with the flow of the reading process.
I use the old Strathmore vellum surface paper, which is the best paper you can get in the Western world for ink line drawing. It has a good, hard surface.
Violence begets violence, and then you get leaders who are violent men. And you don't want that.
When I go back to America, after a few days I am once again filled with this kind of angry alienation and disgust with this thing there that America has got - you have no idea how pervasive it is there. The public relations and propaganda put out by the corporate mono-culture there is so pervasive.
You don't have to be a Fundamentalist Christian to be interested in the Bible. It's really a fascinating mythology.
Pictures have a lot more power than text. Text is just a bunch of little symbols. You have to actually read it and imagine it, and even that can be censored. With pictures, it's a lot more immediate.
You can't make everybody love you. It's an exercise in futility, and it's probably not even a good idea to try.
If you're trying to work the art game, if you're like Andy Warhol or something, then you're in with cake-eaters of society. You want to get in with them and please them and get their money.
I oughta be rich. But, you know, if you don't spend all your time looking after money, somebody else will. The guys who look after money, they're the ones who get the money.
The work itself is what motivates me. I like my own stuff, you know? I like the way it looks. I do it to please myself first.
I've had it happen to me before where it turns out that they never had the money and couldn't have made the movie in the first place. And these are the things you have to look for when trying to read the behavior of the people you sit down with.
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