A Quote by John C. Meyer
I am not a good shot. Few of us are. To make up for this I hold my fire until I have a shot of less than 20 degrees deflection and until I'm within 300 yards. Good discipline on this score can make up for a great deal.
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This is pool. This is setting up your next shot, and I always want to make sure when we're setting up San Antonio's next shot we have a good shot at making sure that we continue to build our infrastructure in such a way that San Antonio will be a player for years to come in national defense issues.
I never start editing a film until it's completely shot; I don't edit along the way, ever. When it's finished I come in here [screening room] and we start with reel one, scene one and start editing shot by shot by shot until we're finished.
I try to respect the rules of the silent movies and I tried to make signification to make sense, and also the crew were very good and the fact that we shot in LA in the real Hollywood, studios and houses. We shot in the bed of Mary Pickford, and you cannot be any more accurate than that, so that helped a lot.
Think about the deflections. The offense can't score every play. They're just trying to get a good shot. If I can deflect a pass, even if it doesn't cause a turnover, it will throw their timing off half-a-second. That half-a-second might mess up their shot.
Don't let the difficulty of actually achieving a shot make you think that the shot is good.
The time to hurry is in between shots. It's not over the shot. It's timing how people walk. You have to add that to the equation. If you've got somebody walking slow and they get up to the shot and take their 20 seconds, what's the aggregate time for them to hit that shot in between shots? That's what really matters. It's not the shot at hand.
Once I started working with the Polaroid, I would take a shot and if that shot was good, then I'd move the model and change the lighting or whatever... slowly sneaking up on what I wanted rather than having to predetermine what it was.
There's an ecstasy about doing something really good on film: the composition of a shot, the drama within the shot, the texture... It's palpable.
If you want to be a good shot-blocker, you're going to be a good shot-blocker. It's simple. You can't teach it. You're either good at it, or you're not good at it. If you're good at it, then be really good at it.
I don't care about the money. I'm just interested in the perks. I'll do a series if I am picked up by a limo, work only until 4, and the show is shot in Hawaii.
The word 'good' has many meanings. For example, if a man were to shoot his grandmother at a range of five hundred yards, I should call him a good shot, but not necessarily a good man.
After eating an entire bull, a mountain lion felt so good he started roaring. He kept it up until a hunter came along and shot him... The moral: When you're full of bull, keep your mouth shut.
I did this film for less money than it costs to stay in this hotel. We shot it in 20 days. We couldn't screw up takes for fun because we didn't have enough film.
There are those of us who are always about to live. We are waiting until things change, until there is more time, until we are less tired, until we get a promotion, until we settle down / until, until, until. It always seems as if there is some major event that must occur in our lives before we begin living.
Anybody that shoots a hook shot, whatever hand, I jump up and cheer because it's the easiest shot, it's the best tweener shot.
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.
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