A Quote by Abhinav Bindra

One must understand that shooting is a very individual sport and see what sort of coaching possibilities exist in the country and what their standards are. One of the issues that has been faced earlier by shooting athletes is that we have one odd national coach for whom it's impossible to give that sort of attention to say, a group of 30.
I've been coaching the sport for a number of years. And I went through many athletes. Some athletes stay with your program for a long, long period of time. Some athletes, they have a different approach as far as coaching style or your philosophies. I totally respect their own opinions - they have the right to choose their own coach.
I only wish the sport of shooting was more reachable and there were training centers all over the country where youngsters could go and try shooting.
We hated to see Coach Riley go. Coach Riley is a very smart individual and he knows his coaching style. He also knows how long to stay with it and move on. He is a very demanding individual. When you coach at that level like that it tends to whirl the players.
Shooting Umbrella Academy' is like shooting five movies. You're working with a cast of incredibly talented 30-year-olds who all know what their mission is.
I was at a Madonna show many, many years ago and I was in the sweet spot and she came out and I mean it was the best part of the show. And I was shooting, shooting, shooting, shooting. And I'm like, "God, I must have shot a hundred pictures have I not run out of film?" And I opened the back of my camera and there was no film in there. So that happened to me only once.
Movies are details. Movies are billions of details that come into a certain moment. So with all the years and months and weeks and days and minutes of preparation, then finally you're shooting and it all comes down to these moments when you're shooting, which is sort of insane when you think about it. The details make a difference.
I always prefer shooting on locations, because when I'm at home, it's harder to sort of get lost in the world of whatever you're making. It does, it does force this bond and community amongst a group.
It becomes a lot better for the actors when we're 'shooting, shooting, shooting,' instead of waiting around in a trailer for something to happen.
I learn my lines in a few different ways. A lot of my dialogue sticks with me in a general sort of way when I read the entire script for the first or second time. Then, when I get the shooting schedule, I have a better idea of what scenes are shooting when. I then will focus on those that are coming up first.
While shooting in Patiala, I never felt as if I was shooting here for first time, such was the love I got from the locals and Punjabi actors shooting with me.
War is only a sort of dramatic representation, a sort of dramatic symbol of a thousand forms of duty. I fancy that it is just as hard to do your duty when men are sneering at you as when they are shooting at you.
I feel an enormous responsibility to bridge the gap between England and America, and be a sort of very quiet ambassador for my country to try to sort of do a "hands across the water" thing where they understand England and English people understand Americans. I adore America.
I went to see Chicago after I finished shooting, and say what you want about it, but that thing was so meticulously planned. It was planned like NASA planned its trips to the moon. It made me feel like some sort of horrible dilettante.
It's an odd kind of feeling because it sort of reminds me of being five again. When you're a five-year-old, you don't pay any attention to what anyone thinks of you. You just sort of are in your skin.
I enjoyed shooting 'Chandramukhi' so much that I would not say it was a relief when the shooting got over.
I just can't - I can't exist in normal group situations. A classroom, where you have to sort of jockey for position, compete for attention - I would just withdraw.
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