A Quote by Geoff Thompson

I train for the first shot – it’s all I need. — © Geoff Thompson
I train for the first shot – it’s all I need.

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All you need to do is train, train and train. Keep working hard, harder and harder. That's the only thing you need to do.
I had a rope around my waist, and the rope was attached into the helicopter in case I fell off. And the shot was a shot that began with Kim Novak going out of a house and getting into a bus. Then it was supposed to go over the countryside and find a freight train on which Bill Holden was standing. And then after seeing a good look at the freight train, the camera was supposed to move up into the sky for the end credits.
I felt I have gifted my wicket. So more than technique, I need to work on my shot selection, I need to decide which ball to be hit, I was going for every shot.
When the NBA first resorted to it in 1979, I must admit I thought it was a circus rule, the equivalent of asking players to be shot out of cannons or swallow swords, something borrowed from the stepchild ABA with its red, white and blue basketballs. A 3-point line? The beautiful game of basketball didn't need a clown shot.
My idea is that players need to recover first, train later.
In going for the last shot of the game most people wait too long to take the shot. Give yourself a chance to get the first shot and tap the ball in. Your players are normally inside the defense.
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.
One thing a shooter loves is to make his first shot. He makes his first shot from three; that builds confidence.
A lot of people say that I took the first shot for Bitcoin. The first person to walk through the door always gets shot, and then everyone else can come through.
Between the time the last train leaves and the first train arrives, the place changes: it's not the same as in daytime.
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 first movies, they just put up a camera and had a train come into a train station, and everybody was amazed. That was sort of all technology.
If you want to build a larger physique that actually makes you look like you lift, you need to train your shoulders, back, triceps, glutes, and legs more frequently. You probably also need to suck it up and train them harder than you ever have before if you want them to grow.
That's the storyboard that we have in the beginning [of Valerian]. It's an easy shot. It's just a spaceship coming in. That's the first layout. On the first layout, we see the timing of the shot and the speed. It starts to get some shadows, and we see that everything is moving in the back.
Lane himself lit a cigarette as the train pulled in. Then, like so many people, who, perhaps, ought to be issued only a very probational pass to meet trains, he tried to empty his face of all expression that might quite simply, perhaps even beautifully, reveal how he felt about the arriving person. Franny was among the first of the girls to get off the train, from a car at the far, northern end of the platform. Lane spotted her immediately, and despite whatever it was he was trying to do with his face, his arm that shot up into the air was the whole truth.
There's a big link between trains and film. One of the first filmed objects was a train. The clickety-clack of the projector and the clickety-clack of the train are similar. There is the idea of the voyage - every voyage is a story. I wonder if film would have been invented without the train.
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