A Quote by Gary Payton
Tim Hardaway was a guy who had his crossover and then he could shoot a jump shot and he could get to the bucket.
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It was Tim Burton's 'Batman' in, what, '89, I think? What we could see was there was someone behind the curtain controlling all of this, and you could see it from one Tim Burton film to the next, that the guy who made 'Edward Scissorhands' also made 'Batman.' You could connect the dots because his style was so distinct.
God could care less whether I can shoot a jump shot.
It was not about the guy who could jump the furthest; it was about the guy who could jump the furthest on that particular day in the worst conditions of any Olympic long jump final.
When I saw the original versions of 'Virasat' and 'Gardish,' I felt the content was so good but that they had shot the films very badly. I knew that if I could get such content, I could shoot it much better. That was what I did.
It affects you when you get shot at, when your children get shot at. In our case, we had one shooter, a guy from Illinois mad that Trump won, and decided to come to Washington and shoot GOP congressmen.
When every guy on the team and the coaching staff is telling you, 'shoot it, shoot it,' obviously I've always known I could shoot it, but it was more of a trying to get the guys involved and being that middle man.
I think my jump shot could get a lot, lot better. I could become a really big threat out there.
I used to catch and take a big dip down and then finally I'd try to shoot. That first year playing the NBA, I was realizing how little time you have to shoot the ball. The time you have from when you catch it to the guy closing out is just a split second. So I had to figure out a way to get my shot off quicker. Then it was just repetition.
I was shooting all this time. And there was only one guy who helped to pull him. And I had to think whether I was going to keep shooting or help the guy. And so I kept shooting and then they put him in this little clinic, and I photographed through the window while they had to amputate his leg. And I felt very strange because I didn't - I felt I could have helped, but I didn't help. But then I also felt elated that I was getting a shot that would be important to the film.
I couldn't shoot. When I went to play in Europe, I learned to shoot better. I could jump, so people would just back off of me.
I used to like Tim Hardaway.
A jump shot can get you a shoe deal, a big house, a supermodel, fancy cars, a bunch of yes men, a Swiss bank account. But none of these things can get you a jump shot
But he could not taste, he could not feel. In the teashop among the tables and the chattering waiters the appalling fear came over him- he could not feel. He could reason; he could read, Dante for example, quite easily…he could add up his bill; his brain was perfect; it must be the fault of the world then- that he could not feel.
When you do a movie, you shoot, and then you go away. A lot of the times you walk about from the movie, you say, 'Oh, I get that scene now... Oh, that whole ending - I wish I could have done another shot.'
With Animal Factory you'd think that because it's mostly interiors, you could shoot it anywhere. So we shot this in Philadelphia, and we had the cooperation of the prison system.
'MacGyver' of course, that's probably my favorite show of all time because it was a guy who was so, so smart and could use his wits, and his technical know-how could get him out of any situation.
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