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It's rare in Hollywood to get the chance to work on something that you actually care about. The tragedy of the place is all these talented people trying to get excited about stuff they themselves would only view at gunpoint.
At the beginning, everything's possible and everybody gets equal time, all the characters, all the ideas. You don't know who's going to be the main characters; they're all fighting it out. It's like kind of the best time in a way.
When I was seven and told my mom, 'I'm gonna be a writer,' she said, 'Oh, that's a terrible idea. You'll live in misery and die teaching other people's children badly.' My parents wanted the safer path for me, and I think they failed miserably achieving that.
Life serves up satire. Unfortunately. Or fortunately. I don't know. You have to reel it in to drama.
There are moments when you're stepping out of a really nice car on to a red carpet, and you feel inside like, 'This is quite nice,' but I'm never whisked off my feet.
There are always certain things that you tap into, your own personal experiences, and I try to base my characters on someone I know or someone I've seen.
For me, the facts in anything are always secondary. You don't lie convincingly with the truth. You lie convincingly with being a good liar.
I figure anytime you put an adjective before 'writer,' it's a way of dismissing the writer.
If you keep having to dip into the story's past to explain the present, then there's a good chance your real story's in the past, and you're just using the present as a vehicle to deliver us there.
If the main character's not in jeopardy - physical, psychological, emotional, whatever - then you don't have any tension, and you don't have a story.
I'm not spitting in my own soup, I love having spent my life thinking about these things-but you don't have to know anything about his life, even though I've just written a biography!
I believe that it is a whole lifetime of work on Shakespeare's part that enabled him to do what he did. But the question is how you can explain this whole lifetime in such a way to make it accessible and available to us, to me.
If you want to be a government in a minority Parliament, you have to work with other people.
Look up at the stars and not down at your feet. Try to make sense of what you see, and wonder about what makes the universe exist. Be curious.
However difficult life may seem, there is always something you can do and succeed at.
Time travel used to be thought of as just science fiction, but Einstein's general theory of relativity allows for the possibility that we could warp space-time so much that you could go off in a rocket and return before you set out.
If you believe in science, like I do, you believe that there are certain laws that are always obeyed.
It is no good getting furious if you get stuck. What I do is keep thinking about the problem but work on something else. Sometimes it is years before I see the way forward. In the case of information loss and black holes, it was 29 years.
My advice to other disabled people would be, concentrate on things your disability doesn't prevent you doing well, and don't regret the things it interferes with. Don't be disabled in spirit as well as physically.
You know, I'm trying to chase rings, and that's all I'm about. So that's where the conversation stops for me.
Everybody asks if putting is like shooting free throws. It has a very similar kind of mindset. And it's just you, the ball, and the target.
It's kind of a weird process being pitched by the company you're already with.
It's crazy how fast you get out of shape if you miss a couple days of action.
Your touch and your feel for the game is pretty much gone if you don't work on it - at least get some shots up or dribble the ball.
If you can't move and talk to people that you see, it's not really my scene.
All of us are in the same place, each with our own rooms, and we were allowed to do whatever we wanted. Which is totally different than college, where they manage your schedule for you. In the NBA, you're on your own.
Back in Oakland, we have a lot of food in the locker room, but on the road, it's mostly just fruit. So we have to prepare differently. But really, once you get to the gym, everything on the road is pretty much the same.
In college, a loss is pretty devastating. That feeling kind of goes away in an 82-game season. You hate to lose, but you also have a lot more games to make up for it.
Sometimes people make it seem like you have to have certain prerequisites or a crazy life story in order to be successful in this world. But the truth is you really don't.
It doesn't matter where you come from, what you have or don't have, what you lack, or what you have too much of. But all you need to have is faith in God, an undying passion for what you do and what you choose to do in this life, and a relentless drive and the will to do whatever it takes to be successful in whatever you put your mind to.
To excel at the highest level - or any level, really - you need to believe in yourself, and hands down, one of the biggest contributors to my self-confidence has been private coaching.
For me, when you are have people wondering what is next, what is coming out, you are on the right track.
I like that Brita makes tap water taste good, so you don't need to spend money or waste plastic with bottled water.
There are a few writers that one has a relationship with that means, basically, you do whatever they say. One is Caryl Churchill, and the other is David Hare.
You go through a process of refinement and getting rid of the excesses of your early youth in terms of your excitement about what theatre can do.
I categorically resist this idea that films are supposed to be autobiographical and the only stories you tell are about your own life.
Every now and then I have to teach directing. The thing about the theatre is that the most important thing you can do as a director is to make sure that everybody is in the same world - you have to create the world and make sure everyone buys into it.
Actually, to be honest, this is a useful time to not be knowing what I'll be doing in 2013 or 2014, because really, for the last however many years, I've known what I've been doing for years and years ahead. You get into a cycle of non-reflection, and that gets a bit scary.
The great fun of doing new plays is that people have no idea what's going to happen next. That goes quite soon, as people start talking about it, and the only way you can keep hold of that is genuinely to keep changing it.
If you feel uncomfortable on stage, you can very easily descend into a sort of abyss, convinced you're the worst actor ever, that you're a disgrace to the profession, that you're a disgrace to yourself. It's an awful feeling.
Basically, at some point, one day maybe you can expect to hear some of my music. I haven't really done that yet because my younger brother is a musician and really talented and I want him to come out with his music first.
That's the danger of having too much success. You lose that magic, that feeling of not being in control, which I feel now, it's too controlled.
They're trying to beat out this movie, the Ring, which is a similar idea. Our movie is about a website you visit and die in three days. Their movie is about a videotape you watch - and die in three days.
In a movie script, you know what the moments are that you really have to hit it out of the park.
I've just had some things to deal with, like family stuff, you know, lost my mom. Which is the most difficult stuff I've gone through. But it's just normal human stuff.
Slavery is not the only question which comes up in this controversy. There is a far more important one to you, and that is, what shall be done with the free negro?
On an iPhone, you touch on the digital keyboard and you know how the letter pops up and shows up bigger so you're making sure you're touching the correct letter? That's Nokia innovation.
When you went into a Boston Chicken and ordered quarter-chicken, white, with mash and corn, when that was rung up, that would signal all the way along the supply chain the need for more potatoes to be put on a truck a thousand miles away.
In an automobile, if you think about the navigation system - of all the cars in the world, four out of five cars in the world if they have a navigation system have something from Nokia inside that car - the data, the platform, something. So we play a very strong role there.
I have to experience the Nokia products. I'm a major contributor to the design and the quality of the devices. I have a lot of feedback to provide the teams on that. But also I have to carry competitive devices. You have to understand the competition.
If you think about the history of mobile handsets, in many respects there was a time when Asia and then Europe all led North America.
Every time a consumer walks into a retail store, experiences the Nokia experience for the first time and purchases that product. Those are the moments where you say, 'We've hit it. We've nailed it.'
If you look at the economics of Nokia, roughly half of the company, half of the business, half of how we think about the business is focused on those emerging markets and on those lower-priced devices. But, of course, people who are aspirational and buying those lower-priced devices today are looking at smart phones tomorrow, and so forth.
Now, given the experience that we have had thus far, with our subsequent trade agreements with NAFTA and others, you would think that with our experience of job loss that we have had there that when you find yourself in a hole that you might stop digging.
You do not export democracy through the Defense Department or the Defense Secretary. You do it through trade agreements, through the Department of Commerce and favorable agreements with our friends and neighbors across the globe.
Average real wages in Mexican manufacturing are lower than they were 10 years ago, if you can believe that.
If you consider that a typical Central American consumer earns only a small fraction of an average American worker's wages, it becomes clear that CAFTA's true goal is not to the increase U.S. exports.
My constituents say, 'Congressman, have you balanced the budget?' And I'm going to say, 'Well, we're working on it.' And they are going to say, 'Well, Congressman, did you get rid of Fannie and Freddie?' And I'm going to say, 'Well, we're working on it.'
Folks, I mean to keep my word. And if I don't, I'll give you my address and some rope. That's real accountability.
With today's technology, you can actually see the baby grow, move, and hear their little heart beats.
You name it - it is something every day from the Environmental Protection Agency, and every group I talk to is the same message: 'Please stop them. Please stop.'
The only way you can learn about making films is by making them, by putting your stamp on the thing.
To be successful at anything, you need the right to fail, not just occasionally.
When you shoot someone who is fleeing, it's not self-defense. It's an execution.
As people get older, we all know, you get married and you have a child and that becomes your family, but when you're 16 years old, especially, your family is your friends.
Those writers that have zero say in their movie adaptations have zero say because they sell it. If you don't sell it, and you do it yourself, and you wait until the screenplay is ready, you don't have to worry about that.
As we all know, when you're an athlete things are a little bit easier for you. It didn't mean that what was going on inside my heart wasn't a bit of a thunderstorm, but outwardly I got along ok. I was really shy in seventh grade.
Sometimes earning awards doesn't matter as much as earning revenue or profit, or having a good response from the audience. No matter how many awards you win, if you can't earn any profit from your movie, if the audience doesn't like it, then it doesn't matter how many awards you get.
In order to maintain an untenable position, you have to be actively ignorant. One motto on the show is, 'Keep your facts, I'm going with the truth.'
You shouldn't listen to us at all if you're looking for information. We don't take ourselves seriously on any level; we're just comedians.
The interesting thing about grief, I think, is that it is its own size. It is not the size of you. It is its own size. And grief comes to you.
I'm not here to affect you politically or socially. I'm here to make you laugh. I use the news as the palette for my jokes.
If you love friends, you will serve your friends. If you love community, you will serve your community. If you love money, you will serve your money. And if you love only yourself, you will serve only yourself. And you will have only yourself.
I like to do things that are publicly embarrassing, to feel the embarrassment touch me and sink into me and then be gone. I like getting on elevators and singing too loudly in that small space. The feeling you feel is almost like a vapor. The discomfort and the wishing that it would end that comes around you.
Late-night shows are 'Chopped.' Who are your guests tonight? Your guests tonight are veal tongue, coffee grounds and gummy bears. There, make a show ... Make an appetizer that appeals to millions of people. That's what I like. How could you possibly do it? Oh, you bring in your own flavors. Your own house band is another flavor.
There's a degree of narcissism involved in anything in show business. I mean, you can't do it without a healthy ego. Why would you want anybody to listen to you?
Simply being a guest on David Letterman's show has been a highlight of my career. I never dreamed that I would follow in his footsteps, though everyone in late night follows Dave's lead. I'm thrilled and grateful that CBS chose me. Now, if you'll excuse me, I have to go grind a gap in my front teeth.
We are thrilled that Jon Batiste is joining 'The Late Show' family of products. For my money, nobody plays like Jon Batiste. And you can trust me, because it is my money.
I started off at the Second City in Chicago... It's an improvisational theater that ostensibly does social and political satire, but when I was there, we generally didn't. We did character work, and we did just the silliest things we could think of. We weren't all that concerned with, you know, changing the world through mime.
Nerves can be useful, as they sharpen you up, make you determined to try your hardest and do your best.
I actually enjoy writing longer books because you have even more to get your storytelling teeth into.
I had some hesitations about philosophy because, if you worked out a philosophical theory, it was hard to know whether you were going to be able to prove it or whether other theories had just as good a claim on belief.
As I say, there was this movement to try to bring philosophers and mathematicians together into an organization where they would talk to each other. An organization wasn't effective unless you had a journal. That's about all I know.
Acting is fun, and if you enjoy doing it, you should take it seriously and see what you can do.
Who I was back then, when I started on 'One Tree Hill,' is so different from who I am now. Coming off Laguna, being 19 years old, and thrown into this odd, ridiculous spotlight, wasn't for me. There have always been haters, and people don't want to give you a chance or the benefit of the doubt, but this show gave me an opportunity.
It's hard because people always say, 'Follow your dreams,' but it's not a perfect world, and things don't always work out. But you've just got to work hard, and you can't take things for granted.
Things don't just fall into place because you have a dream. You're always going to have those negative thoughts. Our minds love to play with us - we're going to be our own worst critics - but I just say to myself, 'File it back.' I just try to bring any negative thoughts to light and deal with them, so I can file them away.
My costar James Lafferty, and his little brother Stuart Lafferty, and another buddy of ours, Ian Shive, are working on this project called 'Generation Wild.' It's about getting people to realize that being outdoors is not scary - you can go on adventures like we do, in national parks, and practically in your own backyard.
Working on 'Laguna' was great because just being in production and shooting stuff and having to go back and relive some things, and there were some lines here and there that the producers would want us to say, and just kind of, you're forced to recreate moments, and just working on the show was so much fun.
Acting is fun, and if you enjoy doing it, you should take it seriously and see what you can do. It's been a blast, and so you know it was kind of like a test for me to move to L.A. and start studying and see how much I was really into it. Cause I wasn't gonna do it if I wasn't 100% committed.
I really loved working on 'Laguna Beach,' and I'd do it all over again. I'm one of the luckiest kids in the world, but I thought it was going to be a documentary about kids in high school, and they exaggerated all this drama. When it came out, it was this weird thing. People feel that they know you.
As a singer, you can't hear what's coming out of your throat; you're only hearing it from the inside, so you need a trusted person who knows how your voice works. It's like a car. You take it to the same mechanic because they know it inside out, and every time you get it back, it works fantastic.
When I first did 'Moby,' I didn't realize how taxing it would be. I was climbing fifty feet up in the air and climbing down. Literally, it's so busy, you feel you're on a ship. You're always moving; you're constantly adding clothes or taking them off, and there are many people on stage all the time!
In productions such as 'Anna Bolena' and 'Rigoletto,' the costumes are tailored, and they're tight. In 'Moby,' it's like you're wearing pajamas, and you have more freedom. It's very comfortable on stage.
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