A Quote by Harbhajan Singh
You need to understand the batsman, where he plays his shot usually, which is his release shot, and then change the angle, vary the pace, line and length. You cannot always react after being at the receiving end.
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When you make a movie, you do it so piecemeal. You're doing it, not only scene by scene, out of order, but shot by shot, line by line. And there's this idea that the director has the whole thing in his or her head and they're going to somehow weave it all together in the end.
As every golfer knows, no one ever lost his mind over one shot. It is rather the gradual process of shot after shot watching your score go to tatters - knowing that you have found a different way to bogey each hole.
I hate when a batsman plays a pull shot off my bowling.
A man who gives way to his passions is like a man who is shot by an enemy, catches the arrow in his hands, and then plunges it into his own heart. A man who is resisting his passions is like a man who is shot by an enemy, and although the arrow hits him, it does not seriously wound him because he is wearing a breastplate. But the man who is uprooting his passions is like a man who is shot by an enemy, but who strikes the arrow and shatters it or turns it back into his enemies heart.
Moviemaking is a time machine: narrative spliced into fragments and reassembled into a constant present, the end of a story shot before the beginning, which is shot after the middle.
We've been conditioned to understand music as a field where you get discovered, and you're always trying to find that end. So 'my shot' is speaking of a variety of shots. When you're a rapper, you look at every shot as the one you're supposed to take.
My dad moved to London in his early 20s and didn't really go back. So the irony is I've spent lots and lots of time in Ireland, but not with my dad. I've shot films in Belfast, where he's from. And I've shot in Dun Laoghaire. Which is great. And I've shot in Dublin.
If a shot aimed at aptness succeeds aptly, it is then fully apt, since it is not only apt but also aptly apt. But the full aptness of such an attempt is entirely compatible with its being a horrible murder, if the "hunter" is an assassin and the prey his victim. That hunter's shot may still be outstandingly, fully apt, if it manifests the agent's competence in both archery dexterity and shot selection.
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.
I've never seen a player that can dominate a game the way LeBron James can. He don't always have to score. He makes plays for other guys. But when the game is on the line, and you need a shot to be made, he's going to make that play.
One thing a shooter loves is to make his first shot. He makes his first shot from three; that builds confidence.
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.
Most of my friends are into strange things I don't really understand - and with a few shameful exceptions I wish them all well. Who am I, after all, to tell some friend he shouldn't change his name to Oliver High, get rid of his family, and join a Satanism cult in Seattle? Or to argue with another friend who wants to buy a single-shot Remington Fireball so he can go out and shoot cops from a safe distance?
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.
Well, outside of the tone, the big thing that I gained from working on horror film was how to shoot really quickly with no money. I learned how to be able to go into a production and know exactly what shot I need to get and how the shot needs to look and what performance I need to get out of the talent at a very quick pace.
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