A Quote by Billy Casper
I learned something very important early on: You accept what happens and move on. In other words, if I hit a bad shot, I can't change it. There is only the next shot. That was a big lesson.
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I always think before an important shot: What is the worst that can happen on this shot? I can whiff it, shank it, or hit it out-of-bounds. But even if one of those bad things happens, I've got a little money in the bank, my wife still loves me, and my dog won't bite me when I come home.
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.
Forget the last shot. It takes so long to accept that you can't always replicate your swing. The only thing you can control is your attitude toward the next shot.
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."
So much of the game is mental, and that's one thing that I've always wanted to be good at. That if I miss a shot or make a bad play, to never let your opponent see that you are in duress or upset - that they've won in any way. So if I make a big game-time bucket or if I miss a shot, you'll see the same mannerisms. I move on to the next play.
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 enjoy that atmosphere, because you play golf all the time but you don't get to play in front of this many people and feel the energy of the crowd.You hit a bad shot, they boo; you hit a good shot, they cheer you. It's awesome. So I love it.
There's nothing worse than an ostentatious shot. Or some lighting that draws attention to itself, and you might go, 'Oh, wow, that's spectacular.' Or that spectacular shot, a big crane move, or something.
The major difference between the big shot and the little shot is the big shot is just a little shot who kept on shooting.
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.
It's an individual sport (golf), so it's the exact opposite of baseball. If you hit a bad shot, you can't say, 'Well, this happened.' It's just you. It's your shot. You can't point the finger at anybody but yourself.
I feel every shot, every camera move, every frame, and the way you frame something and the choice of lens, I see all those things are really important on every shot.
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.
The only difference between a good shot and a bad shot is if it goes in or not.
The time to hurry is in between shots. It's not over the shot. It's timing how people walk. You have to add that to the equation. If you've got somebody walking slow and they get up to the shot and take their 20 seconds, what's the aggregate time for them to hit that shot in between shots? That's what really matters. It's not the shot at hand.
There's nothing worse than an ostentatious shot or some lighting that draws attention to itself, and you might go, 'Oh, wow, that's spectacular.' Or that spectacular shot, a big crane move, or something. But it's not necessarily right for the film — you jump out, you think about the surface, and you don't stay in there with the characters and the story.
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