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“When you're a father you censor yourself. You get just as angry with a child but you don't want to say, "What the filth and foul and I'll filth and foul, filth and foul and, yeah, ya filth and foul face, and I'll filth and foul, foul, filth!" You don't want to say that to a child so you censor yourself and you sound like an idiot: "What the... Get your... I'll put a... Get out of my face!"”

“. I did an interview earlier and somebody asked me if I [knew I] was onto something back when I was first writing. I said, "Yeah. I always thought I was good." We're not the Beatles or Led Zeppelin or AC/DC. But Helmet always sounded like Helmet, and we sort of developed our own sound. There's a vocabulary that's kind of universal now that's very simple. My friendDavid Sims, [the bassist] in Jesus Lizard, said, "I wish I'd thought of it." When you first hear it, it's like, "Oh duh." But that's cool.”

“I remember when it was reported that I was going to do the film in this format, people were actually speculating, and I guess I understand it. They were like, "Yeah, okay, that all sounds really great, but why would he do it for a thing that's so set bound?" That's not very profound thinking when it comes to 65mm. It's not just for shooting travelogues, mountain scenery and nature.”

“Hip-hop was a big part of my life growing up, especially West Coast gangster rap. The reason I was able to listen to it so freely was that my mom couldn't hear any of it, so we would be driving along just blaring Too $hort's horrible misogynistic stuff, and my mom would just turn to us and say, "This is great. I can feel the bass. It sounds so nice." And we're like, "Yeah, mom. We can feel the bass, too."”

“I was over at Alison's [McGhee], I think we were playing Scrabble. I remember we were both complaining - yeah, we sound like whiners - about how hard writing is, and how we didn't have a story to work on. Alison said, 'Why don't we work on writing something together,' and I said, 'Eh, I don't know if I could work that way.' She said, 'Well, just show up here and we'll see,' and I said, 'Well, what would it be about?' She said, 'Duh, it'd be about a tall girl and a short girl.' So I agreed to come and try it for a day.”

“When I write and produce something, I know exactly how I want it to sound, and I have a very strong interpretation of it. I can't really think of anyone at the moment I'd particularly like to play a duet with. You never know, though, I might receive an offer tomorrow and say, "Yeah, that'd be great." But it's not something that's on my mind.”

“I don't speak cockney and I don't pretend to come from that part of the world. For the longest time the English, like the Beatles and so on sounded American. "She loves you yeah yeah yeah!" All of the sudden you sound American. It doesn't work that way with Americans who try to sing English. It's not convincing. If I say "Footy" and "tele" and "Brissy" and "Sydney" and "Simmo" it's not convincing.”

“My first film I made, "Permanent Vacation," we shot in 1979 for like $12,000, part of which I got a fake car loan for that Amos Poe told me you could do that. And, yeah, I had no idea what I was doing. It was just like, well, we're going to try and do this. Partly because I had been following Amos Poe and Eric Mitchell around for about a year, and I worked on some of Eric's films as a sound recordist and stuff.”

“My favorite decade of cinema would be kind of the '40s, yeah. I like things in the '30s, but you know, the sound recording in the '30s wasn't very good. But for some reason the movies in the '40s have the best personalities: Jimmy Stewart, Gary Cooper, Betty Grable, Gene Tierney, and all those people. For some reason, I seem to gravitate more toward the '40s, and I don't necessarily know why. I just love the people.”

“Let's go. We're supposed to rendezvous with the Captain at the lake. Oh, and try to keep the noise down. You sound like a panicked moose crashing through the woods," the smarter man chided. "Oh yeah. Like you could hear me over your specially trained 'woodland-animal footsteps,'" Rough Voice countered. "It was like listening to two deer humping each other.”

“It's just that, I know how you're unhappy a lot. And, maybe it doesn't help anything, but I wanted you to know that I'm always here. I won't ever let you down―I promise that you can always count on me. Wow, that does sound corny. But you know that, right? That I would never, ever hurt you?" "Yeah Jake. I know that. And I already do count on you, probably more than you know.”

“You okay?" "Fine." "Your heart's beating really fast." "Gee, thanks. That's very comforting that you can hear it." He smiled, and it was the old Michael, the one she'd first met before all the vamp stuff. "Yeah, I know it is. Sorry. Just stay behind me if there's trouble." "You sound like Shane." "Well, he did say he'd kill me if I got you hurt. I'm just looking after my own neck." "Liar.”

“Jess:"Sasha? I need some tissue to pack my nose with." Sasha:"Is that hygienically sound?" Jess:"Sasha..." Sasha:"Fine, but if you get toxic shock up your nose, buddy, remember I warned you." Jess pulled a couple out and wedged them into his nostrils. He gave Abigail a sheepish smile. "Sexy, right?" Abby: "Oh yeah, baby. You're so hot right now, if I was a chicken I'd lay hard-boiled eggs.”

“I nodded, chewing my own syrup-soaked bite. "But surely that's not all there is to it. I mean, really? A big picnic? That's Avari's master plan? That makes him sound about as dangerous as Yogi Bear." Tod shrugged. "Yeah. If Yogi were a soul-sucking, body-stealing, boyfriend-snatching, damned-soul-torturing evil demon from another world. Besides, what else could he be planning?”

“Trent, do you have any weapons? Like a gun?” He looked at me in disgust. “You’re here to protect me,” he said as he closed the distance between us and stood beside me. “You didn’t bring a weapon?” “Yeah, I brought a weapon,” I snapped as I brought my splat gun out and aimed it at the ceiling where the sounds were coming from. “I just thought that since you’re a freaking murderer you might have a gun, too (...)”

“Toby smiled and started to speak, but Josh adjusted his hold on Tank and reached back, covering Toby's mouth. "Wait," Grace said. "I think he was going to actually use words." "Yeah, but trust me, you don't want to hear them." Toby pulled Josh's hand away. "Are you my new mommy?" Grace's mouth fell open in shock, and Toby giggled at the sight. "Okay, Tiger," Josh said. "You know I love the sound of your laugh, probably more than any sound in the world, but I will squash you like a grape if you say that to one more woman today.”

“Yeah, I must have been really bad in a past life or something." He smiled, his eyes still in pain. Reaching up, he touched a strand of mt hair. " Don't leave, OK?" "Shhh. I'm not going anywhere." I kept stroking his forehead, trailing my fingers across it. His muscular shoulders gradually relaxed, his eyes closing again. His breathing slowed, became more regular. I could hear the TV on in the other room, the sound of voices. None of it mattered to me. I stayed there until long after Alex had fallen asleep-- gently caressing the vbrow of the boy I loved, trying to keep his pain at bay.”