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Top 5000 » you're

you're

  • You have to decide if you're going to wilt like a daisy or if you're just going to go forward and live the life that you've been granted.
    Kevin Costner
  • You have to demand things and believe you're worth more. And once you do demand them, you're usually going to get them. The players who first came in were very humble because we came from obscurity. Today's players, on the other hand, have a sense of entitlement.
    Sue Wicks
  • You have to forget about what other people say, when you're supposed to die, or when you're supposed to be loving. You have to forget about all these things.
    Jimi Hendrix
  • You have to get the audience invested even if you're doing something that they think is dumb, it's kind of what these movies are all about.
    Halle Berry
  • You have to have a catcher because if you don't you're likely to have a lot of passed balls.
    Casey Stengel
  • You have to hold your bloody own or you're lost.
    Christine Baranski
  • You have to hold your bloody own or you're lost.
    Christine Baranski
  • You have to love the doing of what you're doing and not wait for the phone to ring.
    Robert Stack
  • You have to nail the right tone because sometimes when you just see his films cold, you're not quite sure. It's the same in - I'm trying to think of other directors with a similar sense - David Lynch's films, Tim's films, some of Cronenberg's stuff.
    Danny Elfman
  • You have to respect your audience. Without them, you're essentially standing alone, singing to yourself.
    K. D. Lang
  • You have to struggle a bit, hustle a little, and be willing to go bankrupt. Once you're willing to do that, everything opens up and you get the freedom. My joke is that next year, I'll make the first film that costs zero dollars.
    Nick Nolte
  • You have to understand the tone of the movie, because if it's supposed to be funny, it can be funny violent like the Home Alone stuff, but you have to really understand the tone of what you're doing and make the action work for that and for the character.
    David R. Ellis
  • You have to wait for people to program you. The only difference is the amount of people that you're going to reach but that's going to even out in the next two or three years anyway. Computers are being bought faster than televisions right now.
    Chuck D.
  • You have to walk carefully in the beginning of love; the running across fields into your lover's arms can only come later when you're sure they won't laugh if you trip.
    Jonathan Carroll
  • You have to wonder at times what you're doing out there. Over the years, I've given myself a thousand reasons to keep running, but it always comes back to where it started. It comes down to self-satisfaction and a sense of achievement.
    Steve Prefontaine
  • You have to write a good score that you feel good about. At least, you're supposed to. But, if the director hates it, it ain't going to be in the movie!
    Danny Elfman
  • You have to, at least from a distance, look as if you know what you're doing, and I can manage that.
    Steven Morrissey
  • You jot down ideas, memories, whatever, concerning your real life that somehow parallels the character you're playing, and you incorporate that in your scene work.
    Chris Cooper
  • You just don't heal that easy unless you're young.
    Sugar Ray Leonard
  • You just feel comfortable with him, and he certainly makes sure that you're comfortable. He makes sure that you feel good and that you're happy with what you're doing.
    Albert Finney

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