A Quote by Baron Davis

I can tell by body language who wants a shot and who's going to make it and who's going to take a bad shot. — © Baron Davis
I can tell by body language who wants a shot and who's going to make it and who's going to take a bad shot.
It comes to the point where, if a midrange shot is there, I'm going to take it. If I'm open, I have to shoot that shot. That's a great shot for the team and myself.
In going for the last shot of the game most people wait too long to take the shot. Give yourself a chance to get the first shot and tap the ball in. Your players are normally inside the defense.
Even if I do miss a shot, I'm going to be comfortable to get back up there and shoot the same shot again. Make or miss, I'm not going to be frustrated but move on to the next play.
When you're doing a live-action movie, you have your day set up and you're going to do this shot and this shot, and eventually the sun is going to go down. It's a sequential race to whatever is going to end the day.
When you're confident, you're going to do things a little differently. You're not going to be hesitant to take a shot, you're not going to be hesitant to make a certain move.
He knows all the golf lingo. You know? You hit your ball, he's like "there's a golf shot. That's a golf shot." Well of course it's a golf shot; I just hit a golf ball. You don't see Gretzky skating around going "there's a hockey shot, that's a hockey shot."
You look at the inner cities and you see bad education, no jobs, no safety. You walk to the grocery store with your child and you get shot. You walk outside to look and see what's happening, and you get shot. In Chicago 3,000 people have been shot since January 1st. I am not going to let that happen.
Lose the group shot in front of the Eiffel Tower, where it's impossible to tell you from your friends. He's not going on a date with Paris or your entourage, he's going on a date with you and he wants to know what you look like.
When you cut from a long shot to a close shot, you're doing it for a reason, or if you let something stay in long shot for a long take. On the short films, I was teaching myself how to express something personal cinematically, how to use the language of film the best I could.
If you hit a bad shot, just tell yourself it is great to be alive, relaxing and walking around on a beautiful golf course. The next shot will be better.
My goal is to protect the basket. Most of the time, I won't block the shot but I'm going to affect the shot or I'm going to affect the way they think.
L.A. is a long shot city, and those who make that shot - you can tell. You can see very clearly who's made it and who hasn't.
Every shot feels like the first shot of the day. If I'm on the range hitting shot after shot, I can hit them just as good as I did when I was 30. But out on the course, your body changes between shots. You get out of the cart, and you've got this 170-yard 5-iron over a bunker, and it goes about 138.
I don't worry about the last shot or the next shot. I concentrate. Every shot gets a clean slate. And when a shot is over, I wipe it out absolutely. Tell a joke or something. If you worry about how you looked, how well you did, you'll go insane.
I think one of the things you have to be aware of as an actor is that if you come on the set and see the director standing there mouthing all the words while a scene is going on, that's usually a very bad sign because it means the director has already shot the scene in his head. He knows exactly the rhythm and the nuances that he wants delivered in the line and you're not going to dissuade him.
A lot of guys can shoot two, three, four, five, six, seven, 10 feet behind the 3-point line. A lot of people can do it. It's just, when is it going to be considered a good shot? When are coaches going to encourage you to shoot that shot?
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