A Quote by Henry Selick
Any type of animation, it could be really super crude or very sophisticated, it doesn't mean anything if we don't make this point in this shot, this one here and this one here. There's the saying, 'One shot, one thought.' It's pretty much a true way to go.
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After college, I really looked at every single shot that I shot. Pretty much every shot in my sophomore year and my junior year and just watched my form. I watched how I shot it from 3, and I just noticed I was a very undisciplined shooter.
When you play a tiebreaker, you dont have time to think of anything, ... You have to go for your shots because one shot can make such a difference. Thats the kind of shot that can break an opponent.
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 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 was in Milan, and somebody gave me a Trussardi diary, and I thought 'Genius.' Inside I put the Polaroids, how much film I shot, who I shot with. This way, for billing later on, I had all the information.
I think that a lot of the most talented and driven people, they're not super deterred by failure. So if you put out a really big challenge, I think they get reality excited by that - they say, 'Hey, why not, let's go give it a shot, and if we fall short on that, at least we took a shot at doing something really important and meaningful.'
One of the things about animation is it's so expensive to do the animation, that you can't produce coverage. You only have one chance to make every 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.
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.
With 'Toy Story,' which is a fantastic film but is essentially animation, you get to make all your decisions beforehand. 'Jumanji' is shot much like any other action film.
It's a miss and make league. As long as you have that confidence to take that last shot, knowing - I'm pretty sure you can't go home and sleep at night knowing you had the opportunity to take that shot and you shied away from it.
So much of the game is mental, and that's one thing that I've always wanted to be good at. That if I miss a shot or make a bad play, to never let your opponent see that you are in duress or upset - that they've won in any way. So if I make a big game-time bucket or if I miss a shot, you'll see the same mannerisms. I move on to the next play.
I always thought the objective of basketball was to get the maximum amount of movement to get the easiest shot, closest to the basket. With the three-point rule, the whole strategy changes, and you make a move and then throw it 30 feet out, where somebody takes a standing jump shot.
You look at today, it's a different situation. You have a game that has been transformed into a game where almost every shot is either an outside shot - a three-point shot - or a dunk.
I mean, one shot you treat like you have forty little matches instead of one forty shot match. It makes all the difference in the world. It's easier to just forget about a not so good shot.
Look, it's very easy to sit here right now with some films in the bank that I like and think I have a shot and feel pretty cocky. But, you know, three years from now, I could very easily be saying, 'Paper or plastic?'
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