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We are a global sport. I mean, golf is obviously played all around the world. But when you have your National Championship, of course, everybody in America is rooting for an American.
Being nervous is not something you should be ashamed of. Nervous means you care, you really want to do well.
I want to be a role model and I want to show kids that you can be strong and overcome adversity.
I like it when, you know, 3-under wins, you know, 20-under par, it just brings so many other people into contention.
I think my books talk about kids learning to like and respect themselves and each other. You can't write a message book; you just tell the best story you know how to tell.
When you make people a lot of money, it gives you leverage in Hollywood.
The attraction of watching a movie called 'Alien vs. Predator' is you're anticipating - and the movie has to deliver - battle scenes and fight scenes between the two creatures.
You can't just shoot your way out of every scenario in 'Resident Evil' games. You have to use your intelligence.
DVD ushered in this era when you had to have additional footage, deleted scenes, things like that. There was no call for that back when we were just doing VHS cassettes and LaserDiscs.
I think for the disaster to work and the drama to work, you really need to feel like you're really in that world.
When you watch movies in Britain, the reaction when people hate a movie is... they just politely get up and leave at the end. And when they love a movie... they just politely get up and leave at the end.
I've always felt that there's a lot of similarity between doing a comedy and doing a scary movie because jokes and scares are all about timing. If you give the punch line too early or too late, the joke falls flat. And it's the same with a scare.
I think if you're watching 'Dumb and Dumber,' I don't know whether you need to buy the Blu-ray of a comedy or something like that. But if you're watching 'Event Horizon,' 'Death Race,' 'Alien vs. Predator' I mean, I think these movies are definitely enhanced by the Blu-ray experience.
True 3D is, you have to kind of originate the images in three dimensions.
I can't remember who said, 'No film is completed, just abandoned,' but I think most filmmakers will tell you that they could endlessly fiddle with their films for the next couple of decades, you know, changing things, altering things.
I really believe, especially with 3D, you kind of have to approach it as this holistic thing. You have to kind of mount a 3D movie; you can't just add 3D as a kind of a special sauce sprinkled on top of a dish afterwards to give you an extra 20-percent in theater grosses, which I think is the way a lot of studios perceive it.
The way it works in commercials is they come to you with the script, and then you do the visual, you do the storyboards, and you give your vision of it, but it's very much their baby. You just kind of put your polish and sheen on it and your interpretation of it, but it's very much the agency's idea.
When you're writing, it's a very solitary job. It's you and your word processor and a cup of tea.
Go where you add value. Don't look for places where you're just like everybody else.
Math people are math people. When you approach them with investments and business, they don't just ask the soft questions but eventually get to the hard questions.
You know, all that really matters is that the people you love are happy and healthy. Everything else is just sprinkles on the sundae.
Basically, you're selling a world as an actor, right? I mean it's like any sales person: if you believe in your product, you know your product, you sell it a lot better.
Attitude is attitude, whether you're a West Coast gangster or East Coast gangster, you know?
You know, I'm a pretty mellow guy. I'm pretty easy-going. I see everyone's perspective.
That's one thing about Hollywood. People don't always want what's real. People always want a little more. So for me, it's a compromise. Here you go, that hyper-reality.
I have an airplane hangar with 17 cars in it. That's no joke. I have a 'half pipe' in there, too - you know, like a big ramp, where I skateboard. It's awesome. It's the ultimate fantasy.
I could take you for a walk on the beach and I could point out just about any creature and give you their Latin names.
If you spend any time with a man, you'll realize that we're all still little boys.
I used to believe in one true soul mate, but not anymore. I believe you can have a few.
I remember when I first came around, the computer-generated stuff was pretty wicked. I was like, 'Wow!' but I feel like then for the longest time, we saw so much of it, after a while, you might as well just be watching an animated movie.
What I've found recently is the heart, the soul, whatever you want to call it, it doesn't differentiate: If you really live the experience making a movie, it's the same as living it in real life, as crazy as it sounds.
I have friends that are super talented, that are far more talented than I am in certain areas, but it just doesn't happen for them. Sometimes you feel guilty for your success because you know people who deserve it way more.
The dream is to have it all. Who says you can't have your cake and eat it too? Live this life, that life, this life, you know? You only live one time - I want to get it all in.
I learned a long time ago that if you subscribe and believe the good, you have to believe the bad. My measure is my heart and what I know.
I don't care what it is in life: listen to your heart. If you do, no matter what, you win.
The mornings along the coast where the fog and mist meet with the salty spray of the seas is one of my favourite smells. I love the smell in the evergreen forest just after it rains - The Redwood Forest in California has the coast, too, so you have the best of everything!
I love 'Donnie Brasco' and 'Days of Thunder,' so after I did 'The Skulls,' I was like, 'I want to be either an undercover cop, or I want to race cars!' Universal came to me with a newspaper article about street racing in L.A., and I was like, 'Are you kidding me? I grew up doing that right off Peoria in Sun Valley.' They asked if I wanted to do it.
If a pitcher sees you fiddling with the bat, he'll stall until your arms are tired before you even get a chance to hit.
Let the pitcher move first, then, as he draws his arm back, you draw the bat back and you are ready.
I would submit to you that our greatest need is to rediscover the gospel of Jesus Christ and to proclaim it. I have always said this, especially to the young missionaries that I have dealt with.
Women, you need to understand something. Men are not as dumb as you think they are.
Salvation is by repentance and faith, and if you have truly believed unto salvation, you have been regenerated, which means you have become a new creature, and you are going to live a different life. And so works do not result in salvation.
If you need me to tell you that if you serve God, you'll get a Mercedes, you're lost.
If you need me to tell you that if you serve God, he'll heal your body and fix every one of your problems, if you need that, you're lost.
One of the greatest attacks of the enemy is to make you busy, to make you hurried, to make you noisy, to make you distracted, to fill the people of God and the Church of God with so much noise and activity that there is no room for prayer. There is no room for being alone with God. There is no room for silence. There is no room for meditation.
One of the things you will notice about the book of Mark is that if you read through it in one setting, you will be breathing hard at the end. Literally, Mark has set up this book in a way that it is almost like several snapshots of Jesus Christ.
Let me just share with you something. Jesus makes this quite clear: there's never been a real teacher except One, and it's Christ. There's never been a real prophet: they're all types of One greater than themselves - Christ.
Killing a baby seal is about the easiest thing you can do if you're inclined to be sadistic; you certainly can't say there's any sport in it - the animal is totally defenceless.
People say that if you're still angry at 52, you're not an angry young man, just a grumpy old git.
Playing music is a lifetime's work. And if you want to carry on with it, you have to try to better yourself. You have to see where the music can take you.
I think, with age, you learn that it comes in bursts and you've got no control over it. I'm not one of those people who says, 'I've got to write a song every day.' I just store up ideas, and really I have to wait until it finds me; I know when I'm ready to write. It used to frustrate me, but it doesn't any more. It's just how it is.
I hear an album so many times during the course of making it that when I've just finished it, I don't want to hear it again. After you've taken a little bit of time away from it, you can come back to it, which can be scary. I'm happy with 'Sonik Kicks,' man.
Right from the start with music, I was like, 'I'm just going to do this, and I don't care about anything else. There are certain things you have to give up, even at 13, 14: your Friday and Saturday nights, having a regular girl, lots of things like that. I look at Amy Winehouse, and I think perhaps she just don't want to do it that much.
'Ageism,' or whatever you want to call it, is a very English phenomenon. You don't get it too much in many other cultures. And no one says it about authors or poets or filmmakers. 'Oh, they're too old to make films or write books.'
If you're making music, you must want to turn other people on to it, whether you're number one in the charts or number 60. I don't know, that's a commercial thing, but just the fact that other people like you... there's no point in making music, otherwise. Otherwise, you might as well make it in your bedroom and leave it there.
It's quite liberating to get to a certain age, 'cos you're not chasing number one hits or trying to be an international superstar. I've done all that. I'm not out to prove much more to anyone but myself really, to be an artist and see if there is a new undiscovered music out there for me to make.
The Jam went through a phase of wearing satin jackets. But that was pre-getting signed and making it, when we were still playing the pubs and clubs - around '75. Shocking, really - what would you call them apart from 'horrible?' We'd wear these white zip-up bomber jackets with black kind of loon pants and black and white shoes.
I saw as a teacher how, if you take that spark of learning that those children have, and you ignite it, you can take a child from any background to a lifetime of creativity and accomplishment.
I think any time anybody sees the bad guy show emotion and you're not hitting the audience over the head, there's always a tinge of empathy for that individual.
I would hope that, for me, regardless of what happens in my career in the future, I always want to maintain a level of humility. I think it's so important to not lose yourself and to just understand that you're a conduit.
Growing up in New Jersey, everyone wanted to be a tough guy. That meant baggy pants that fell down, big T- shirts, and chains. I couldn't imagine wearing tight jeans, as I thought it was dorky. Now I look at pictures of me then and think, 'Yeah, you looked dorky.'
I think the biggest advice I would give to any actor who's directing and also acting at the same time is don't even watch your coverage. You do a scene, and then, you know what you did; it doesn't matter what you look like.
With all due respect to 'The Vampire Diaries,' doing the same thing, over and over again, for essentially five years straight, it really becomes laborious and tedious, and it becomes a job. You obviously find gratification in acting, but you're playing the same character. No matter how compelling it is, it starts feeling pretty monotonous.
You know, he likes me because I'm his son. I have to go long and far to find someone who knows me just as me, rather than me the songwriter or whatever.
I read The Bell Jar, and then I read her memoir and her diaries, and a third book, an outside opinion. Just the way she made the pillows so neat on the oven door. It just seems to be the opposite of, if you're going to take your life, in a horrible rage it happens.
I don't think there's anything that will make me stop doing it. There may be a time when it's not available to anyone. You may have to come listen at my basement window... but I can't stop.
Although, my experience when I've been depressed, not only am I too depressed to sit down and write a song, I'm too depressed to pick up my feet. So if you can at least write about it, you're halfway away from it.
Actually, I've done it the other way so many times where you rehearse the band and you do the whole thing with lights, the show and the crew - everything. Then you see what happens and you're already committed to dates. I'm just sort of putting out feelers this way.
A rock'n'roll band needs to be able to get under people's skin. You should be able to clear the room at the drop of a hat.
No, really. Just do it. You have some kind of weird reasons that are okay.
No matter how many times you do it, you don't get used to the sadness - for me at least - of coming to the end of a film.
Screenwriting is like ironing. You move forward a little bit and go back and smooth things out.
But I'd be lying if I didn't say that every time you go to make a film, you're desperate to either do it better than you did it last time or to not repeat yourself.
I am always looking for that nuance, that moment of truth, and you can't really do that fast.
Film school is a complete con, because the information is there if you want it.
To make a film, the final big collaborator that you have is the composer.
You know, I'm really not that competent at describing things musically.
I remember being taught in school that you would underline things that you liked. I remember just underlining everything as a kid, thinking, 'This has all gotta be important!' I would just underline the whole thing!
It's a gamble you take, the risk of alienating an audience. But there's a theory - sometimes it's better to confuse them for five minutes than let them get ahead of you for 10 seconds.
You have to be a brat in order to carve out your parameters, and you have to be a monster to anyone who gets in your way. But sometimes it's difficult to know when that's necessary and when you're just being a baby, throwing your rattle from the cage.
I really subscribe to that old adage that you should never let the audience get ahead of you for a second. So if the film's abrasive and wrongfoots people then, y'know, that's great. But I hope it involves an audience.
Crazy is so hard to play, there's nothing you can really tell an actor.
I think my job is to try and be as honest as I can with what is in my mind and how I feel - I think that's what you're supposed to do, if you're a good writer. So I try to do that. I know I do that. I do do that.
Many climate change deniers would have you believe that addressing climate change is all pain and no gain. This is simply not true. We can tackle this challenge while improving our personal health and the health of our economy. These are not competing interests; they go hand in hand.
You are Americans. You love this country. Together we are entrusted with the principles that represent mankind's greatest political and social achievement.
You will never see as many great women investors or traders as men. Period. End of story.
Trading is very competitive and you have to be able to handle getting your butt kicked.
Science fiction is about worlds you don't know and worlds you can create, like in 'Avatar'.
The Internet is no longer the kind of thing where only six guys in the world can build it. Now, you can write a couple of checks and get one of your own.
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