A Quote by Ben Hogan

A shot that goes in the cup is pure luck, but a shot to within two feet of the flag is skill. — © Ben Hogan
A shot that goes in the cup is pure luck, but a shot to within two feet of the flag is skill.
Why is it that if you hit a shot to within a tenth of an inch of the hole, it's a great shot, but if it goes in, it's luck?
The first video I shot for "A Zip and a Double Cup"â€"I have two versions, a remix video and a the originalâ€"because I wasn’t really trying to do anything. I just came home and got kind of high and shot a video in the parking lot. I just shot the video how I wanted to do it and posted it online and the next day it went crazy.
All I knew about shot putting was that my [older] brother could do 44 feet. I decided I wanted to beat him. . . . So I got a shot and went to work and made up my mind to do 45 feet.
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.
There's things that you just couldn't do with an optical printer. Now, with digital compositing, most of the energy that goes into a shot goes into the aesthetic issues of, 'Is it a good shot or not?'
If you're playing a shot and your peripheral vision picks up a player moving as you play the shot, if your vision goes from the object ball to what they're doing, you can miss the shot by several inches.
Patriotism is a passion which induces hot youth to rush forth to get shot and half shot, while sober, conservative age waves the flag and corrals the contracts.
I don't get tripped up in technology. I use technology as a tool. 'Oldboy' we shot Two Pro 35mm. For 'Da Blood of Jesus,' we shot digitally. We shot the new Sony F55. It's a 4K camera.
Usually after a shot, we look for a chair to rest our feet. In 'Oopiri,' it was the other way around. After every shot, I was on my feet, walking around the set trying to get the blood circulation in my legs working properly.
I had a fear of heights but I overcame that while shooting for 'Luck.' I jumped from a height of 2,000 feet for one shot.
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?
The only difference between a good shot and a bad shot is if it goes in or not.
If I'm ever working on a set and anyone talks about a master shot, I say there is no master shot. Before I even went to film school, I learned about movies by being in a British feature film, where everything was shot master shot, mid-shot, close-up. But I reject the idea of a master shot. You don't shoot everything mechanically; you find imaginative ways that serve the action.
There's an ecstasy about doing something really good on film: the composition of a shot, the drama within the shot, the texture... It's palpable.
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.
Pure essence, and pure matter, and the two joined into one were shot forth without flaw, like three bright arrows from a three-string bow.
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