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I think I may have become an actor to hide from myself. You can escape into a character.
I'm the one who has to look in the mirror, and after a while it begins to eat at you.
Your intention going in is to do the best you can. You go in and do your work, day to day, the best you can. But it's entirely up to the director and the editor and the producers and the studio how it turns out.
You don't pay an actor to act. An actor will do that for free because we love to act. You pay an actor to wait.
Programming is not a zero-sum game. Teaching something to a fellow programmer doesn't take it away from you. I'm happy to share what I can, because I'm in it for the love of programming.
Developing games for the PC and consoles is all about everything and the kitchen sink. In many ways, you don't have design decisions to make. You do it all. So I enjoy going back to making decisions about what's important as I'm working on a game.
The stereoscopic panoramic videos that we're showing on Samsung VR are getting a lot of positive traction. It's exciting when you see creative types - whether from the music, film, or video industries - look at this stuff. The gears are turning in their head almost immediately about how they can use it as a new medium.
The great games are the space sims and driving sims and these experiences where you're basically sitting at a table with nothing happening in front of you. A lot of interesting things are evolving there. There are great games that can be made.
I kept thinking, 'How do you make a modern musical?' Then it became clear that I could do it just like a small indie art-house movie, very naturalistically. I could create a world where it's o.k. to break into song, without an orchestra coming up out of nowhere.
I think ultimately audience members like to see someone controlling the quality of a film. A lot of films you see are made by committees and studios and producers.
Americans like optimism, and 'Once' walks a tightrope: you feel uplifted at the end even if you're crying.
You're more constrained when you're wealthy. Or when you're making a bigger film and people complain about no budgets; but having a small amount of money to make a film means you're at your absolute freest to express yourself as an artist.
One could make money and get a career going with a low-budget horror film about killers attacking on holidays. It is always flattering to have somebody copy you.
What scares me is what scares you. We're all afraid of the same things. That's why horror is such a powerful genre. All you have to do is ask yourself what frightens you and you'll know what frightens me.
It's O.K. if you've got a smartphone app or a social network, and you go live with it before it's ready; people aren't going to die. But with medicine, it's different.
The fear that you come to a show called 'American Horror Story' with is yours. That being said, I'm glad people are afraid, and I hope that I'm contributing to their fear. I'm really not afraid of my own darkness anymore. I'm not afraid of what I'm capable of.
Breathing is always key in any character. When you have a character with no voice, that makes it even more important.
You can have the most wonderful motives for what you do, but if what you do harms other people, you're fooling yourself.
Work begets work. Just work. If you work, people will find out about you and want to work with you if you're good. So work anywhere you can. That's why I've changed my mind about these theatres where people work for free or have to pay money. I think it's kind of terrible that they feel they have to, but you know what? They're working.
I heard from other people on Twitter that they're very excited about Twisty Halloween costumes, and all I can think is, 'You people are nuts!'
Any time you get to work with creative people - animators, actors, directors and producers, all of this - it helps to refine what tools you'll need moving forward.
Easytrak is no guarantee against mismanagement. But you cannot manage a large program without software like it today. It is a project information management system that helps people develop a solution to a problem with many parts to track.
When you have a deadline, or when you know that your equipment is about to go up in a rocket and you won't have another chance to fix it, your mind works in a way that it otherwise never would.
We have our religious traditions coming from many thousands of years, and I think to myself, well, you know, if Moses had come down with tablets from the mountain that said, 'And guess what? There are protons and neutrons, and they are made out of quarks,' people wouldn't have understood what he said. So he didn't.
My experience from working with people is that you can have a conversation with someone or have a meeting with a group of people, and from that meeting will derive an answer to a question that no individual could have ever thought of by him or herself.
Everyone has the potential to become an encourager. You don't have to be rich. You don't have to be a genius. You don't have to have it all together. All you have to do is care about people and initiate.
If you are a leader, you should never forget that everyone needs encouragement. And everyone who receives it - young or old, successful or less-than-successful, unknown or famous - is changed by it.
My son walked up to Nicole on the beach and I was throwing the ball for the dogs in the ocean. I was like, 'Max, you get the dogs. I'll talk to the hot blondes.'
I knew I wanted to play 'Dr Cox' really bad, which is always a huge mistake because as soon as you want something really bad, maybe you rip up a little bit.
I have mixed feelings about 'Car 54, Where Are You?' Because we shot it as a musical and whoever the studio head was at Orion, or whoever the powers that be were, cut all but, like, two musical numbers out of it. That is the same as cutting the musical numbers out of 'The Wizard Of Oz'; it wouldn't be that interesting.
If you watch 'E.T.' and say that there are holes in the story because this alien lands, then don't go to the movie! It drives me insane.
You go see 'Timothy Green,' and tell me if it doesn't rock your world. I loved it. I loved every frame of it.
I have no issue with being a character actor. If you've been around enough that people are able to segregate you into that category, it means you're working. So that's good!
The conventional wisdom with David Mamet is, you do not change a word. And that agrees with me. If you want to change any of David's words, it's like wanting to change the iambic pentameter in Shakespeare - you should do something else.
If you can figure out where you fit into any particular story, you'll be okay. When you're not quite sure where you fit in, you try to be too many parts of the story. You gild the lily. I see it all the time.
With Shakespeare, if you're not going to do the iambic pentameter, do some other play.
I just can't afford to get bored, because if you've been blessed with a generous imagination, which a lot of actors have, to be engaged, to be stimulated, is to liberate your imagination.
The idea for actors is to make a living telling stories, so if you can do that, then you're way ahead of the game.
The learning curve on soaps is through the roof because it's a three-camera setup. There's a master and then there's two singles. And the great thing about soaps, and soap actors will tell you, is that when you get your line wrong, they don't re-shoot it. They just cut to the person listening.
I always wanted to be Gene Hackman and I always wanted to be, you know... I wanted to be one of these guys. I always wanted to be Bob Duvall.
You know, post-production is a bit of a grind to me. If I'm producing a film, I really... I mean I like editing, but all the other crap, the color mixing and... it's all a grind. And so as a result I cut back producing the number of films I was producing.
I'm the wrong person to not be professional around. When someone calls 'action' and we're in the frame together, I'm gonna run you over. You're gonna get eaten alive.
There's something about the water - that solitary kind of peaceful feeling. You're on Earth but not quite.
One of the unique things is that whether we were out at sea or in the middle of the water tank, a lot of times you just couldn't leave. Especially when we were out at sea.
You were there all day long, 12 hours a day. So there was none of this, 'I'm going back to my trailer, my trailer's bigger than your trailer,' that kind of Hollywood nonsense.
God forbid you got seasick because there was no option to go back. So that really did force us to be a group.
Kind of the exhausting thing about doing pure comedy, or something that's broader, is you're kind of a slave to the laugh. If it's not funny, then there's not much point in doing it. The kind of ueber-objective is to make people laugh. You always have to have that in the back of your mind, 'Eh, I've got to figure out a way to make this funny.'
A lot of times, good improv is when both people, or however many people are in the scene, really have no idea what the next thing you're going to say is.
It's thought of as an eccentric thing for an actor to really try to maintain quality control through the whole career. Most people think, 'You just work. You just keep working.' And in some ways I wish I could be a guy who's just a workhorse.
Everybody that's on a set - from the director to the grips to the electricians - it's all about problem solving. So, as empowered as you can make everybody feel, that's really important.
YouTube's audience is very specific. They are ready for great content. But you have to engage with the audience in a very direct fashion.
I wouldn't say you can engineer viral. But there is viral content that comes from dense communities.
YouTube viewers essentially curate their own content, so you could form your playlist to watch 'H+' through the eyes of one character, in chronological order, in reverse-chronological order, by geographic location. Our hope is that audiences take 'H+' into their own hands.
If you're talking about a world in which everybody is connected by computers 24 hours a day, that exists right now.
If you have a YouTube account, you essentially have your own channel, and anybody who subscribes, or any of your friends on YouTube, they're your audience.
The first question I ask myself when something doesn't seem to be beautiful is why do I think it's not beautiful. And very shortly you discover that there is no reason.
Even if you're improvising, the fact that beforehand you know certain things will work helps you make those improvisations successful. It really helps to have a certain amount of knowledge about musical structure.
What I enjoy most about being on stage is that the natural instruments give you a greater freedom with texture. When you use natural instruments they have their own resonance.
The value of having a computer, to me, is that it'll remember everything you do. It's a databank.
I think part of the reason some coaches don't want to be involved with social media is that they expect to be able to do it at a certain level. A lot of them are like, 'I'm not going to do it if we can't hit 100,000 or 200,000 followers.' Well, you're not going to right away.
My wife runs the house. She raised our kids with me only partly there. It's just what coaching is. A lot of times, you're raising other people's children, sometimes at the expense of your own. I hope that wasn't the case with my children, but at times, it probably was.
I refuse to go in a home and paint a picture saying things like, 'If you come with us, you'll be taken care of for the rest of your life by the program and by our alums,' even though you may only be in school for a year or two. How preposterous does that sound?
When you're coaching at Kentucky, you're held to a different standard, and like in politics, there is a core group that absolutely loves you, and everyone else is trying to unseat you in any way they can - anything to trip you up; that's what it is. If you're not up to that, then don't coach at Kentucky.
They want it all - all As, all wins by 20, and want the highest GPA. Don't coach at Kentucky if you can't accept that.
As long as I'm at Kentucky, you've got to be able to take the shots, or don't stay at Kentucky. To be the coach at Kentucky and get what I get, you can't be a 35-year-old coach whose never been fired. I've been fired.
As actors, we have a philosophy, which is this: great fun. That has transmitted itself into the dwarf philosophy of life. We're up for a brawl, we're up for a bloody good feed, and if you've got food, well, we share what we've got, and so should you.
You must submit to supreme suffering in order to discover the completion of joy.
I like making art that's useful to people who have a harder road. Art is a tool to get through it; it's a tool to prepare for the worst. By envisioning it in an artistic context, you can make sense of it before and after it happens.
I always think that in some way, art is the best tool we have to prepare for death. It's like a sculpture that you can interpret differently every time you look at it.
I think as far as themes, 'Hedwig' is about what music meant to you as a kid and how rock n' roll can save you; that is definitely part of it.
'Hedwig' was pretty much all the things I wanted to do that other people said I probably shouldn't do: drag, punk rock, stand-up comedy... You know, combine them all in a thing that's supremely uncommercial from the objective point of view.
As you get older, you treasure the beautiful things of the past but also see things more clearly.
When you pray, rather let your heart be without words than your words without heart.
If the world is telling you you're successful, but you don't feel it, you might as well have failed.
I discovered that Thailand was one of those countries, like Sri Lanka and India, where memory of past lives used to be commonplace. Go back a few generations, and you find people talking about earlier lives with total certainty.
You come before me this morning with clean hands and clean collars. I want you to have clean tongues, clean manners, clean morals and clean characters.
Some scenes you juggle two balls, some scenes you juggle three balls, some scenes you can juggle five balls. The key is always to speak in your own voice. Speak the truth. That's Acting 101. Then you start putting layers on top of that.
The lure of the distant and the difficult is deceptive. The great opportunity is where you are.
You are always nearer the divine and the true sources of your power than you think.
The distribution of plants in a given locality is not more marked and defined than that of the birds. Show a botanist a landscape, and he will tell you where to look for the lady's-slipper, the columbine, or the harebell. On the same principles, the ornithologist will direct you where to look for the greenlets, the wood-sparrow, or the chewink.
Getting older is fine. There is nothing you can do to stop it so you might as well stay on the bus.
If you are emotionally honest, you should mean what you say but also mean what you do.
To have friends who will always take you to higher ground is an incalculable blessing.
Life is going to hit you some line drives, and sometimes you'll have to think fast. However, it's better to think first than to think fast.
Decide while you're young to keep the commandments of God, and you won't have to think fast, because before temptation even steps up to the bat, you'll have made your decision. You were smart enough to think first.
One of the hard lessons to learn in life is that there are some things you can control and some things you can't. If you want a short recipe for being frustrated and miserable, this is it: focus on things you can't control.
Here are three things you can do, even when you feel like there isn't a friend in sight. You can be curious, you can be clean, and you can be Christlike.
Our world is drowning in a sea of self-centeredness. You can make yourself quite unique right away by leaving this ocean of selfishness and choosing to be curious about other people.
Being Christlike guarantees that you'll have the most important friend of all: the Savior. He knows what it's like to be misunderstood, lonely, and rejected.
Who doesn't love the parables? You know there's a solution, but you have to do some work to find it.
Remember, it is a deep principle of our nature not to regard the safety of those who do not regard their own. If you are indifferent to your own safety, you must not be surprised if those less interested should become more so.
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