A Quote by Dan Fogelberg

It was quite a shot in the head to do the album and then have it shot down by nonmusical idiots. — © Dan Fogelberg
It was quite a shot in the head to do the album and then have it shot down by nonmusical idiots.
It was quite a shot in the head to do the album and then have it shot down by nonmusical idiots
I shot 'Fruitvale Station' on super-16, and then I shot a movie called 'The Harvest' on 35mm, and then I shot 'Little Accidents' on 2-perf 35.
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.
I have had an experience which might perhaps be described as being shot down. At the same time, I call shot down only when one falls down. Today I got into trouble but I escaped with a whole skin.
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.
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.
I shot down some German planes and I got shot down myself, crashing in a burst of flames and crawling out, getting rescued by brave soldiers.
Sometimes with Polaroids, the shot you want to get in your head doesn't happen. What it makes me do is be patient, I guess, or let go of that presumption of what the shot's going to be.
The way I work is, I always compose a shot list before I talk to anybody, including my DP. So I'll spend a couple months basically creating the movie in my head, so I have a very solid film in my head, where I know every shot, and I know what the transitions between scenes are.
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.
I've seen so many young filmmakers - even professional filmmakers who get a Hollywood deal - they don't quite know where to begin, where to end, and they'll waste a lot of time making this perfect shot, an establishing shot, and then there's no time left to shoot the dialogue.
Anybody that shoots a hook shot, whatever hand, I jump up and cheer because it's the easiest shot, it's the best tweener 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."
What I try to do is find a weakness in my opponent. A way that I can hit you. One good, clean shot. Try to time it. If I can get it and the shot is there, if I find that shot in the first round and they go down, they go down. I'm prepared for anything, not just to get first round knockouts. If they're there, I'm not gonna resist to take them.
The major difference between the big shot and the little shot is the big shot is just a little shot who kept on shooting.
Sometimes I feel like I have a good shot, and then I see somebody that has a better shot.
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