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.
Shoot the dictator and prevent the war? But the dictator is merely the tip of the whole festering boil of social pus from which dictators emerge; shoot him and there'll be another one along in a minute. Shoot him too? Why not shoot everyone and invade Poland?
Haven't you ever heard of the saying, "If you want to shoot the general, first shoot the horse!"?' --Lin If you wanna shoot the general, then you should just SHOOT THE GENERAL!' --Ed
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.
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 got the impression that instead of going out to shoot birds, I should go out and shoot the kids who shoot birds.
If you shoot for the stars and hit the moon, it's OK. But you've got to shoot for something. A lot of people don't even shoot.
I have good mid-range shot and I can shoot threes, but in Europe coaches didn't want me to shoot outside because I was tall and big.
In film, a dancer should always be shot from head to toe, because that way you can see the whole body and that is the art of dancing. Nowadays they shoot the nose. Left nostril. Right nostril. Hand. Foot. Bust. Derrière. The film prevents you from determining who is a good dancer and who is not.
I've always been able to shoot the ball, so it's just about continuing to work on your shot and shoot the ball. That's the main thing. Got to get those shots up.
There used to be a period of time when you'd shoot big studio movies where you would shoot a couple of pages a day. For a TV show, you've gotta shoot seven to nine. The schedules are much more compressed.
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?
You know, differentiating between training and matches. If they are all matches it becomes very natural to shoot them, although Dan thinks I should shoot more of them. I think I shoot plenty of them.
If a man can shoot 10 birdies, there's no reason why he can't shoot 18. Why can't you birdie every hole on the course?
You break into my house, I will shoot you. My wife will shoot you and then spend thirty minutes telling you why she shot you.
Like, if I'm assessing someone's game and they can't shoot, they can't shoot. And they know they can't shoot. It's not like I'm making fun of them. I just keep it real, man.
I think the worst thing you could do is not shoot the shot. When you shoot you got two options: It can go in or you can miss, and even in the miss you might learn.