You Quotes
Most Famous You Quotes of All Time!
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I bow to Jesus in gratitude, and I say, 'Oh Lord, you are great.' It touches me, and it lifts me up because I am hungry for more.
People ask why God allows suffering. You could just as well ask the Minister of Transport why he allows accidents on Britain's roads.
When you take a pitch and line it somewhere, it's like you've thought of something and put it there with beautiful clarity.
When you've played this game for ten years and gone to bat seven-thousand times and gotten two-thousand hits do you know what that really means? It means you've gone zero for five-thousand.
You don't face Nolan Ryan without your rest. He's the only guy I go against that makes me go to bed before midnight.
Everybody in the league knew I had trouble with the inside pitch. I got away with it only because the great majority of pitchers were afraid of making a mistake in that spot. The threat of power is one of the best weapons you have in the batter's box.
When you hit a player in the head, you're more apt to get some fisticuffs or, you know, bring both teams out on the field, but it was more accepted that - in the '50s, '60s and '70s. I think nowadays it's a little over-policed because I will always believe that knocking a hitter down, even hitting a hitter at, sometimes, is part of baseball.
If you can't see the rotation and tell if it's a sink - a fastball, then you have to be able to tell whether that fastball is a two-seamer or a four-seamer. You have to be able to recognize if it's a slider or a curveball. You have to be able to recognize if it's a changeup or a split-finger.
When people push back on you and don't think you can do it, and you struggle a little bit and wonder if they're right, it drives you to be successful and to be a great player.
Do you have any idea what Ali meant to black people? He was the leader of a nation, the leader of Black America. As a young black, at times I was ashamed of my color; I was ashamed of my hair. And Ali made me proud.
This is what happens when you get old and have a couple of bucks. You go back and try to be young again.
Lee May's about the same age as me; he's got about the same stats. So how come he's making about one-eighty, two hundred thousand, and I'm the best damn paid player in the game? I'll tell you why: Because I put the meat in the seats!
You can play football and be the next Jim Brown or play baseball and be the next Reggie Jackson.
There's a certain time that when somebody asks you a question, you answer them. I don't think I said anything with venom. If you can express yourself without anger and make it as palatable as you can, that's what you do.
I know I never saw Casey Stengel when I was being scouted. And how could you be in a ballpark and not know if Casey Stengel was there?
Definitely for myself, I find myself gravitating towards dramatic work. In terms of sitcoms, you know, I always tell my agent I don't want to be seen.
Scoring a lot of points is great when you win, but when you lose it doesn't matter.
For me, that's natural. The instinct to score comes naturally and if you have it, you've got to go to it.
Growing up playing on the streets, you made your name by talking mess and getting into people's heads.
When you retire, you don't get fat and old. C'mon: it's like a shark. Sharks never stop swimming; that's when they die. You gotta keep moving.
You look at the pioneers that have paved the way for players like myself. Sometimes, you just sit back and scratch your head.
You don't want to bring attention to yourself; you want to bring attention to the team.
You have to be willing to fail, because you're not going to make every shot.
When you have 20,000 people yelling and screaming at you, four other guys can concentrate on the floor. So every time I touch the basketball and everyone is yelling and chanting and doing things towards me, well, four other guys can concentrate.
It used to be you a needed a true center to win championships, but now the point guard position holds just as much weight.
In professional sports, you live in the moment, and that's what I love about it.
I love photographs. I love taking photographs. When I see something that's great, I want to capture that. You put it out there and on a place like Instagram you can put it there and review it later.
If you pay attention to the world, it's an amazing place. If you don't, it's whatever you think it is.
I guess, in a way, I grew up mixed race: half white, half black. That question's always been on my mind: 'What are you? Are you this or that? Are you a white dude or are you a black dude?' In a strange way, music and comedy is kind of the same thing. I'm both. They're just different modes of expression.
If you have something you do that's unique, you just end up in situations. Your art can take you to places without you working too hard to force something to happen.
No matter how big a comedian gets, they're ultimately all just a bunch of nerds with their weird insecurities. You realize these are just the people in high school who were making people laugh.
People ask, like, 'How are you going to incorporate what you do onstage into everything else?' I'm not too worried about that. Whether it's theater or a TV show idea, or an animated thing or, I don't know, an animated screensaver. I really just want to keep creating things. And I've always been able to do that.
I try not to eat right before I perform. It's better to perform on an empty stomach - it just feels better. You just feel like a leaner machine. You're not worrying about digesting things.
I don't really like to drink. I don't like the way alcohol feels or tastes. On occasion I'll do it as a social thing, just to kind of go, 'Hey! I did something with you guys!'
At my shows you have time to relax, time to just enjoy something really dumb, time to laugh at something that's weird or unexpected and time to think. There's all sorts of things happening and it's great being able to go any way I choose at any given moment.
I compare a lot of life to looking at a map through a straw. The less ability you have to see life in a humorous way, the smaller the straw is that you're looking at the map of life. You're not looking at the whole picture. You can't see the whole topography without it, and it can help you to make better choices.
I don't think immortality is necessarily the key to understanding the world. You have to be careful with what you think you're achieving. I'm all for science discovering amazing and fantastic things about our world, but I think the motivations behind it are slightly askew.
Just because you live longer doesn't necessarily give you a greater edge in quality.
I like joking around and being a little mischievous. Once an audience or even a group of friends realizes that you're being benevolent about it, then they're along for the ride.
I've often had people ask me, would you allow a homosexual to be your friend. Yes, I will. And the reason I will is because I know that that person has problems, and if I can minister to those problems, I will.
For years I heeded the warning: Do monthly breast self-exams. Like most women, I did them on a 'sort of' basis. Every few months I'd sort of do a quick feel, but never as thoroughly as the doctors urged. I didn't want to go looking for trouble. If you look for it, you might find it. Looking for cancer is unsettling. Thank God I looked.
When you hear the word 'cancer,' it's as if someone took the game of Life and tossed it in the air. All the pieces go flying. The pieces land on a new board. Everything has shifted. You don't know where to start.
When you have cancer, it's like you enter a new time zone: the Cancer Zone. Everything in the Tropic of Cancer revolves around your health or your sickness. I didn't want my whole life to revolve around cancer. Life came first; cancer came second.
When you write a book, you are asking someone to make an investment in their time and money. A column can come and go as the weeks pass, but a book needs to be timeless.
In order to make characters real - no matter what the character is doing - you have to see yourself as capable of having done that.
My biggest challenge will be to play the totally submissive woman. It takes a toll on you when you play someone who's far removed from your personality.
You don't know what unconditional love is. You may say you do, but if you don't have a child, you don't know what that is. But when you experience it, it is the most fulfilling ever.
I'm just really thankful to have the chance to portray a character you don't see every day.
When you see all the suits in the room, everybody in the room has on suits, you know, the women, too. We're not wearing dresses and chiffon and we're not as fun as we used to be.
I watch ESPN all day. If you come into my trailer, ESPN is on. That's the first thing I do when I leave the set.
I learned a lot from my Mom. My favorite lesson: remember there is no such thing as a certain way to parent and to remember that you are learning along with your child - it's ok to make mistakes.
I love my city and I feel like the majority of the people that are in the city are people from other cities. So I think that L.A. sometimes might get a bad rap because it's known to be so Hollywood-oriented and then underneath that you have crime. But that's really the case in pretty much any major city that you go to.
There's a difference between actresses of color and actresses not of color. If you look at how big my movies are.
If your woman is asleep every time you get home, she's just really tired. Of you.
You always make a film with the hope that all types of people will want to see your work and that it doesn't matter about your color, but unfortunately it still does.
Tomorrow you might get a phone call about something wonderful and you might get a phone call about something terrible.
When you're playing such brilliant music every day, then the last thing you ever want to do is try to write something of your own that's crude and not as good.
I've been thinking a lot about space. It was one of those slow-motion realisations how little we are, how far we are from everything else in our solar system. This idea of distance started kind of haunting me. How do you go forth and accomplish things but not end up leaving everything you started out with in the dust?
I've done that kind of stuff in records, where you start going back and you want to just redo everything, destroy everything, because you think it all sucks and you can do it better.
I'm like, 'Would you be the person in the room that would boo when Dylan went electric? I know I wouldn't. Or are you the person that left The Beatles after 'She Loves You,' or 'Drive My Car?' You weren't on board for 'Revolution 9' or 'Day In The Life,' were you?'
You make something, and you really have fun with it, and you try to put emotion in it, and at the end of the day, you have no idea how the tide is going to fall. You don't know if everyone's going to like it, if everyone's going to hate it, if it's going to be like you're a media darling, or all of a sudden you're a sellout. You have no idea.
It's a real gift to be able to have the works of brilliant, great people to learn from and build from. It gives you so much more to draw on, and then you don't have to be all about three-chord pop songs. I don't really like that kind of writing.
I would really hate it if I could call up Kafka or Hemingway or Salinger and any question I could throw at them they would have an answer. That's the magic when you read or hear something wonderful - there's no one that has all the answers.
If the Starbucks secret is a smile when you get your latte... ours is that the Web site adapts to the individual's taste.
On the Internet you get continuous innovation, so every year the streams are a little better.
But as an entrepreneur you have to feel like you can jump out of an aeroplane because you're confident that you'll catch a bird flying by. It's an act of stupidity, and most entrepreneurs go splat because the bird doesn't come by, but a few times it does.
Fibre optic is becoming like electricity. If you look at how electricity spread around the globe 100 years ago, that's what's happening now.
Think of Internet on the TV like the Web browser. The amount of time you spend on the PC in the browser is just going to grow continuously.
When you give an artist a canvas, you shouldn't tell him exactly how much paint to put on it, or exactly how sharp the images should be. You should let the artist get going.
Everybody agrees that you want competition. But you have to have rules of fair competition if you want to have competitors to enter the market.
I always like to do sound design, and in movies, you have more leeway with that, but I don't really notice that sound design is being used in TV other than just location sound.
The instant feeling I had after I gave birth was you couldn't get that baby in my hands fast enough.
When it was time to go to college, I was going to apply to Boston University for journalism, and dad said, 'Why not apply to NYU film school, because you love telling stories and taking pictures?' And I thought, 'Oh, I can do that for a job? Cool!'
I think I subconsciously knew you needed life experience to direct, and the best films are directed by people who have really lived, with exceptions like Orson Welles, who just burst out of the gate. There are prodigies like that, but for me, personally, I thought I needed life experience.
I've DP'd so many films for first-time directors, and I know the trauma, the heartbreak, the vulnerability, how much you have to believe in the story.
I feel like directing is more about who the individual is rather than if they're a man or a woman. It's kind of hard to generalize and group all of us female filmmakers into one group, like we're all going provide you with the same thing, because we're not. We're all individuals.
I think it's a common misconception that because you're a woman, you can't command a set and have people respect you, and for some reason, Hollywood is really far behind every other industry. It's getting better; it's just slow.
What's the hardest thing about making a show like 'Vinyl' or 'Handmaid's Tale' is they are expecting movie-level cinematic quality in every way - from the performances to the visuals and the shots - especially on a show where you are doing Scorsese style.
In TV, you are much more likely to see the episode closer to the script as written - in terms of the order of the scenes - than you would in a movie, and here's why: you don't have as many days to edit. You have 10 to 12 weeks or more to edit a feature, and you have four days to edit TV. That's a huge difference.
When you work as a cinematographer, the actors look to you for reassurance. When you're lighting them, they can never think you're making an adjustment because of the way they look. If they are nervous, it impacts their performance, which impacts the story.
I don't want to come in and do something that's been done before. You know, for me, it's not that I wouldn't come in and do a sequel to something, but it's only if I can bring something new to the table and I'm not following an extremely strict path.
Directing is not about gender. Directing is individual to the actual individual. From woman to woman, directing is completely different. It's about giving more than half the population a chance to express themselves, you know what I mean? It doesn't always mean it's going to be more sensitive.
We're too complacent. We let things happen to us. And you don't have to let things happen to you. You can affect change.
There are many legendary DPs that I admire, some of whom have a very strong signature, but I'm not sure I want to be the DP where you see my work and say 'Oh, Reed shot that.'
It's a very tricky job we have as DPs, where you are expected to make something that really is an emotional art but also needs to be technically spot on. You're often given a very small window of time to achieve it. People sometimes expect it to be even quicker and forget that there's a schedule for a reason.
Try everything on, even gowns that you don't think you'll love. You might be surprised and fall in love with a gown that you weren't drawn to at first.
Your wedding is your red carpet moment, and while brides definitely can take some chances with style, you don't want to look like a fad.
I've seen petite brides carry a ballgown, and I have also seen plus-size women carry a ballgown, though you wouldn't think so.
As you know, all women at all ages do not feel their ages anymore. The young girl feels older, and the older woman feels younger.
I am my own cheerleader. I am the one who puts my goals, who pushes myself to get to the next goal. I don't have someone next to me saying, 'Here you go, now do this, it's your next step, go for it.'
I advise women to live their life to their fullest, invest in who you want to be and live it well.
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