A Quote by Cormega

When I got shot I wasn't like 'yes' I got shot, now I can say that in my raps, when I got shot I said 'ouch'. — © Cormega
When I got shot I wasn't like 'yes' I got shot, now I can say that in my raps, when I got shot I said 'ouch'.

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He's a great shot-blocker. So once you go in there, you've got to either get into his body and get an and-one, or you've got to drive and kick. It's not all about trying to force the shot over a shot-blocker like Nerlens Noel. You've got to kick it.
I flew in combat in Vietnam. I got shot at, I shot back, I got shot down. Compared to this flight, I felt a lot safer in combat.
My mom got shot. My dad got shot. Some of the craziest stuff. All that happened to me.
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've got a scar on my shin from when I got shot in New York when I was 17. I was outside a McDonald's and somebody shot a gun from a car, and the bullet grazed my leg.
Most folks here got rules 'bout trespassing. Warning shot's fired right close to the head. Get they's attention. Next shot gets a lot more personal. Now I'm too old to waste time firing a warning shot.
To be one of the special ones, you've got to want to take that shot-you've also got to be willing to fail, learn from it, come back and take that shot again.
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.
I'm the kind of person who if I was playing the role of someone who got shot, I'd probably want to get shot so I knew what it felt like.
By the time I got to 'St Vincent,' I had shot so many scenarios I was ready for anything - I've shot kangaroos, I've shot dogs, cats, crowds, fight scenes, stunts, comedy, drama, handheld, dolly, helicopter, crane - I just felt that there was nothing I was unprepared for.
Who shot you?" For a moment he looked annoyed. "I fail to see what that's got to do with anything. Reading assures me that anyone who's ever met me would have reason to shoot me, so I must admit with all candor that I have no idea. Was it you?" "If I'd shot you I wouldn't have missed," she said. "Was that wishful thinking or are you in fact a practiced shot?" "Desire would have made up for lack of expertise.
It's been a part of my game for life. It's tougher to finish in the lane so you've got to find different areas to score efficiently and the mid-range contested shot is a shot a lot of teams will live with. And it's a shot I'm willing to live with as well just because I've gotten so many shots at it and I'm comfortable with it.
I have got to stay aggressive. When I have a shot, I have to take that shot.
I knew that they were going to be reading actors for Manute, and I wanted to give it a shot. I wanted a shot to do it, and they embraced that and said, "All right, come on in. Let's see what you've got." So, I went in, and the rest is history. It felt good when I went into the office, and it just worked.
The only equivalent plunge from genius I could think of was Ernest Hemmingway's tragic loss of ability to write. Hemmingway got up one morning and shot himself. Nicklaus got up the next morning and shot 66.
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.
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