A Quote by Derrick Rose

I have a lot of confidence in my shot and I'm willing to shoot it no matter what. — © Derrick Rose
I have a lot of confidence in my shot and I'm willing to shoot it no matter what.
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?
Make or miss, you still have to shoot the same shot with confidence.
For me, it's never really been a road block for me to shoot, it's just a matter of me continuing to shoot and shooting with confidence.
A lot of directors, they don't go into the editing room during the shoot. When they come back, they've forgotten what they've shot. That's why their films come out a year after they shoot them.
You go through slumps. The shot feels good in practice and looks good and for whatever reason in the game, they're in and out. Sometimes it gets frustrating, but for me, I've played in the league long enough to know you just have to put in the work in practice and shoot with confidence, shoot your way out of it.
We are somewhat amused by the hysteria manifest in the press at the suggestion by Gordon Liddy that if one is menaced by bad guys (particularly the ninja) one is wise to shoot for the head. That statement has got a whole bunch of journalists and commentators bleeding from the nose. One wonders why it should. Where else should you shoot a man if he is probably wearing an armored vest? If you decide to shoot you have made the big decision. Where you place your shot is merely a technical matter.
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.
Reading what a good shot is, based on time and score of the game, based on the shot clock, based on my position - there's a lot of things that go into it. It's a lot of things that you think about based on when to shoot it or when not to.
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.
We know the 65-point policy points, to the extent that they exist, but is Hillary Clinton willing to be vulnerable, is she willing to be funny, is she willing to be both authoritative, but also real? And so less what she says than the emotional tone she sets. It takes a lot of confidence to be a vulnerable speaker on this stage. And sometimes she hasn't always projected the confidence it takes to be in some ways weak. But that's what I think people were looking for, that moment of human connection.
At the beginning of my career, I shot a lot more documentaries because I liked the adventure, and probably also because it was easier, and still is easier, for women DPs to shoot documentary than it is to shoot fiction.
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.
When you're working with a script and you have three pages for that day, you have to shoot that. It can become sort of like a prison, because by the time you've shot what you need to shoot, you don't really have time to think or shoot anything else.
I shot my undergraduate work on 35mm. I love the way it looks, but I haven't shot film in a while. If you can avoid scanning, it makes your practice faster. Oh, and I shoot a lot of Polaroid, too. I have about five hundred Polaroids from my film that I hope to show soon.
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.
Caddies are a breed of their own. If you shoot 66, they say, "Man, we shot 66!" But go out and shoot 77, and they say "Hell, he shot 77!"
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