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If you put 100 people on an island with no food, no water, no hope of a ship coming, then some will overcome it and be resourceful, some will live in it, others will panic, and others will show horrific character, which is wrong. But not to understand that all alternatives are possible is wrong as well.
You don't get the accolades unless you win. It took me a while to understand. No one will remember how Kenny Smith played in Game 1 unless we win the series. The thrill is in winning.
Mark Jackson played 19, 20 years in the NBA. Shouldn't even have probably been in the league, and he's the third-ranked assist guy in the NBA. But you describe his game: Can he jump? No, not really. How's his outside shot? Eh, it's inconsistent. Can he defend? Nah, he can't stay in front of guys. And he played 19 years!
Dunk, and people anywhere will ooh and aah. But you can wow a crowd in New York with ball handling and passing.
You can dribble on carpet. I grew up in Queens, and we had carpet in our living room. And actually, even in some of these gymnasiums where we're playing the game, we're on carpet. If you're 12 or 13 years old, you've dribbled on the carpet in your mom's house.
The one thing about college basketball is you don't have to have the best player to win.
You like to be part of a championship, but you always want to be an integral part.
I want people to know that it's all right to come back to New Orleans. You can drink the water. The only way that the city can come back is if you come back. Tourism is a big part of it.
You really don't believe that winning at home or winning on the road makes a difference. The Lakers have that mind-set. They don't look at it as 'We're at home, we're on the road.'
What it takes to win on the road, it's all mental focus. You have to believe that you can win.
The important thing is to be around people who will make you a better player. Otherwise, you can remain average.
Just figure out what you think jazz is, and then if it fits into that category, it's jazz, and if it doesn't, it isn't. It's no big deal.
I look at is as one single entity. I dehumanize the audience. This way, I don't get nervous, you know?
I know real cops. When they're paired up together, they get so close, you know? There's no excuse for it, but these guys do have a connection. They fight like cats and dogs, but when they get in a really messed-up situation, they're there for each other.
A lot of times, we are trapped by our own false sense of security. You can do whatever it is you put your mind to. Your goal is to find your purpose.
When I'm acting, I'm just worried about that piece of the pie, contributing to the whole. But when you're directing, you... get the vision out of your head and on the stage.
I love the idea of live theater the best because you are sitting there with the community in the dark, looking at the light, and that's really - you can't get any higher than that.
When I'm working in television, I've learned you've got to work fast. You don't have time to rehearse; you don't have time to just mess around. You've got to move quickly. So I pick that up from that world, and I also pick up the idea of development of character and development of situations.
I love film because you have the last word. I never get that on stage because you've got to really believe; you've got to get the actors to trust you, and they have to believe in you, and then hopefully they will when you open the show.
As I tell young people in workshops, 'It's your country. If you came here on the bottom of a slave ship, if your people came here seeking political freedom - however your folks got here - it belongs to you just as much as it belongs to anyone, so claim it. It's your birthright. America belongs to every person who is here.'
I've directed 'Raisin in the Sun' five times. You keep discovering things. You keep on seeing things in the script that you never saw before. That's what great pieces of art do.
As an artist, you're thankful to get a shot at a story more than once, because it doesn't happen all the time. Whether you talk about 'Hamlet' or 'Death of a Salesman,' you always want to see what the next group of actors will do.
I always approach every play based on the cast. When Denzel and I did 'Fences,' I didn't go to rehearsals and say, 'OK, James Earl Jones did a wonderful job in '87. Let me see if you can come close to James Earl Jones.'
You must have love as the core; it takes courage to be willing to constantly tell the truth to each other and risk letting the relationship go.
A lot of my main-event matches will last around the half-hour mark, and if you can have a variety of emotions within that half hour, that's a great story from start to finish.
A lot of people, especially performers in wrestling, feel that winning the title is the only statistic that matters, but it's always about the journey. If you don't have the people behind you, believing in you, and the start of a new chapter after winning the title, then you don't have anything.
We have a very physical performance art. A lot of times, when you want to achieve a certain emotion, you have to use professional wrestling ingredients, which are moves or a sequence of moves.
Winning the title is an important detail to the story, but how you get there is much more important.
I think it's important to show in the 21st century that if you're gay, lesbian, trans, whatever, that you should feel just as welcome to be a wrestling fan as anyone else. You're welcome in the space.
I'll take all my matches against WWE's best matches, I'll put it up against Ring of Honor's best matches, or whatever promotion you want, and I guarantee people will be more entertained with my matches than theirs.
If you're a young person who wants to become an actor, it's really important to walk into a casting room with a sense of yourself and some life experience. You can really delight a room and have them already choose you before you've even said a word!
To want to be an actor is enough - you don't need to tell us about it. The interesting person who comes with some life experience is always the person who is going to be chosen by me.
Whenever you went into any place where there was Michael Jackson footage at Sony, it was like going through Homeland Security.
I had a day off, and I was walking down the street one day, and this Mercedes pulls up alongside me, and Alec Guinness leaned out and said, 'What are you doing, Kenny?' I said, 'I'm just walking around,' and he said, 'Do you want to come and see an oasis with my wife and I?' There was nothing arrogant or flash about him at all.
There just aren't many little guys who are good actors. They don't get the training; they don't go to RADA. There just aren't the parts for dwarfs, and if you like it or not, you're typecast as a dwarf.
Social topics may hit too close to home for people, but then again, if you pull a heartstring, then that's what country music is. It's not just songs about getting drunk and leaving your girl.
It sounds like a cliche, but it... you do sing about what you know about. And I grew up in a small town, and I grew up in a place where your whole world revolved around friends, family, school, and church, and sports.
I used to think that it didn't make any difference how far you ran if you had a good, strong musculoskeletal system and no underlying cardiovascular problems.
The basic thing with adventure medicine or extreme medicine is that you are going to places where humans don't belong and people will certainly get into trouble.
When I went to Amazonia, l went as the field doctor for biologists studying crocodile behavior. There's no way humans should have any encounters with crocodiles. You should stay away from them!
Certainly, it seems true enough that there's a good deal of irony in the world... I mean, if you live in a world full of politicians and advertising, there's obviously a lot of deception.
When you finish a poem, it clicks shut like the top of a jewel box, but prose is endless. I haven't experienced an awful lot of clicking shut!
You want to close the income inequality gap in part? Give us better educated kids out of high school. Give us kids that can challenge and succeed in the challenge with technology. You give us those kinds of kids, and watch the needle move.
Well, rates would go up whether you deregulate or not, and of course, the rates that are going up right now on the electricity side are still within the regulated framework.
I feel like if you can describe something fully and accurately, then people will be able to see it themselves - they don't need be told what to.
Little kids grow up discovering the world that's shown to them and then when you become a teenager, it kind of shrinks a little bit. I think when you get past that point, one of the important things is that you see there is more to the world than yourself.
Filmmaking, like any other art, is a very profound means of human communication; beyond the professional pleasure of succeeding or the pain of failing, you do want your film to be seen, to communicate itself to other people.
Teenagers all think their life is a movie. If you break up with someone or you have a fight, you walk around with movie scores playing in your head. You sort of see yourself suffering as you're suffering. There's a lot of melodrama attached to the real events of your life.
Oh, Mr Coward, sir - I could never have an affair with you, because you remind me of my father!
The argument for intelligent design basically depends on saying, 'You haven't answered every question with evolution,'... Well, guess what? Science can't answer every question.
As you know, the fossil record includes not only the ancestors of crocodiles and whales, but also the ancestors of human beings. And this, of course, is why evolution remains controversial.
Did you know I staged the first performance in America of At the Hawk's Well?
You don't become a saint until you lead a good life whether in Tibet or Italy or America.
I'll tell you what I'm grateful for, and that's the clarity of understanding that the most important things in life are health, family and friends, and the time to spend on them.
It's very strange that the people you love are often the people you're most cruel to.
Don't act like a bank unless you are a bank. That was a really big lesson learned from 2008.
If you look at Citadel today, that's really - the founding principle of the firm is a real pursuit of talent, a pursuit of people who have a passion for finance, and a pursuit of individuals who make good decisions day in and day out.
Long ago, I had to sort of learn to have a thick skin to read some of the things you read in the papers and to also keep my ego in check when you read some really flattering things in the papers.
I think if you look at the realm we're discussing, which is the political realm, I think it would be impossible to find an action by any politician intended to specifically favor either my firm or myself.
What's increasingly clear is that when you are open to a discussion of leadership, and you're relating it to your company, it is much easier to get people to become open.
For a number of major companies, if you can't access the commercial markets, you can't fund your business. That's a big problem. You can't pay your bills.
For me, one of the lessons from 9/11 is that you have to give the organization context for how you're acting, and you've got to communicate constantly, in this case particularly with all the changes that were occurring in the financial marketplace and in the economy.
You've got to develop relationships. You can't do things just in a formal context.
Many people don't focus enough on execution. If you make a commitment to get something done, you need to follow through on that commitment.
When you're working on a huge, elaborate set that took months to create, and you're surrounded by hundreds of extras, you better remember your lines and know what you're doing in a scene!
Belize has a tropical climate and is quite affordable and is developing a reputation as an inexpensive Hawaii. If you want to hide away someplace that is extremely low-key, Placencia is perfect. San Pedro is more touristy and modernized.
A lot of people you think you know you don't know until you find out you don't know then it may be too late to know.
I am sorry to upset my colleagues by saying we wasted four years in opposition, but if you do get so badly defeated as a party you do have to face up to some painful facts and you do have to change.
If you swap it about, do television, theatre, film, you can go on surprising yourself. The problem is you get employed to do something you've already done. They want something from that sheep pen of performances they've seen you do.
You create a blueprint of your best performance, and you're happiest the night you surpass that blueprint. That won't happen that often, but it will happen. It's like sculpting: you keep refining. When you have a piece that is yours, that is just you, that becomes obsessive; you think about it all the time.
You have to succeed as a young actor, then as a dad actor, those would be my 'Harvey Moon' years, then as an old actor.
When you act for a living, you are lucky enough to get to say things you really want to say. You get lines that you look forward to, lines that jump out like a jack-in-the-box; you're thinking: 'Wait till you hear this.'
I've always liked texts that you immediately understand. I suppose the playwrights who really speak to me are Edward Bond, Joe Orton and Harold Pinter. I've been in six different Pinter productions - I love the clarity of his language. He has this way of using words - there's a thrill to them.
The great thing about stage is that you have more control. The stage is yours. The time is yours. Film is really the editor's medium.
The thing about theatre is that when it is actually occurring, when you have the audience on your side, you absolutely think you can will them to do anything. It's exhilarating.
Normally, if you have a huge category that leads a bear market all the way down to the bottom - like tech after 2000, or energy in the '80-'82 bear market - you get one quick pop, and then years of lag as we fight the old war.
If you can predict where the market's going, just do what you can predict. If you can't, which is the presumption of dollar cost averaging or time cost averaging, either one, then you're trying to ease in. But if the market rises more than it falls most of the time, easing in is, by definition, a loser's game.
You may have seen my firm's ads screaming, 'I Hate Annuities.' Folks ask why we run them. Simple: Because I do.
If you are prepared for some risk, junk bonds pay about 5%, but they tend to get whacked when interest rates rise. Same with lower-yielding but higher-quality corporate bonds.
If you've taken Econ 101, you know that the quantity of money rises only when the banking system makes a net loan.
The more you talk about investing problems, the worse you feel. Instead of complaining, it's better to do something.
Buying only what you know can end in disaster. Just think about Enron's employees and business partners, the 'locals' who bought lots of its stock because they thought they were in the know.
If you're 35, 45, or even 55 - you have a very long time horizon - 40 years or vastly more. That is you, and/or your spouse, are likely to live about that long, and you'll be investing the whole way.
You could draw certain parallels between the structure of the Pompidou and the structure of the rocket-launching facilities at Cape Canaveral. They might not have been thinking about it, but I think there is some kind of unconscious affinity there.
In my house, education was the paramount value. And if you grew up in a neighborhood like mine, you were forced to decide early on what you stood for in life, because there were a lot of peer pressures that could take you the wrong way.
Your job as a trial attorney is to try to convey to the jury the essence of the people you represent.
Independence is all very well, but we animals never allow our friends to make fools of themselves beyond a certain limit; and that limit you've reached.
It's never the wrong time to call on Toad. Early or late he's always the same fellow. Always good-tempered, always glad to see you, always sorry when you go!
Well, very long ago, on the spot where the Wild Wood waves now, before ever it had planted itself and grown up to what it now is, there was a city - a city of people, you know.
Socialists make the mistake of confusing individual worth with success. They believe you cannot allow people to succeed in case those who fail feel worthless.
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