I spend a lot of time in the gym working on moves, working on difficult shots, figuring out ways to create space, becoming a tough-shot taker and a tough shot maker, especially down the stretch.
Some shots, for me, are a good shot even if it's forced. The way it might look to a person watching, they might look at it like, 'That's a tough shot.' But for me, it's not a tough decision. I'm committed to those shots, and I spend time working on them.
There are basically five ways to score in the half court. Layups, mid-range, three-pointers, free throws - and then what I call 'tough shots.' Tough shots come anywhere on the floor, under difficult circumstances. The ability to create that shot is a special skill in the NBA.
I think [Otto Porter Junior] just took a couple tough shots so far - a couple tough jump shots - but I think he has a great mid-range game, he's very tall and can create his shot. So, I think with more spacing he'll get easier shots, I think he'll be fine.
For me, it's just finding ways to create shots. I feel like if I got a shot off, it has a good chance of going in. So it's finding ways of creating different shots. Being smart. I watch film a lot, and different tricks that I can do to get my shot off the ball and creating ways to get shots off of pick-and-rolls or one-on-one situations like that.
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.
Kind of making that leap from a team that wins occasionally to a team that wins the majority of the time, a lot of times just comes down with figuring out how tough it is to win, and then executing down the stretch to do it.
I mean, defending isolations is easy, but it's hard at the same time. I think I'm a pretty good defender, but when you go against guys that can make tough shots, it makes you feel so bad, like, 'Oh, man, these guys just made a tough shot on me.'
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.
On the road, I might go to the hotel gym. When I know I won't be dancing or working out, I spend time stretching. You have to stretch every day as a dancer. I do it whenever I can when it's not weird.
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.
We shot ['Sailcloth'] five days down in Cornwall, and you couldn't have asked for a more beautiful place. It was a couple of tough days at sea, but when I say tough it was still enjoyable.
Just working on stuff off the dribble a lot more. It's helping me create my own shot and freeing me up a little bit, being able to make plays and make shots.
I try and work out as much as I can. When I'm working or travelling, it's tough, but when I'm at home, that time and space is sacred. I do yoga every day.
No matter what the trends are in the NBA - teams going big, going small, getting more efficient with analytics - the ability for a player to create his own shot, then convert tough shots, will always be a weapon, particularly when you get to the playoffs.
I know it's tough. Everybody in baseball knows its tough. I'm just going to give it my best shot.
I knew exactly what I wanted out of my actors - the film stars Ranveer Singh and Sonakshi Sinha in lead roles - and how each shot should look. A large part of 'Lootera' has been shot under tough conditions.