A Quote by Katherine Applegate

Everyone deserves a shot....and some deserve to be shot. — © Katherine Applegate
Everyone deserves a shot....and some deserve to be shot.
We stood up and said that we welcome everyone, and that everyone deserves a shot to succeed.
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.
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.
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.
He knows all the golf lingo. You know? You hit your ball, he's like "there's a golf shot. That's a golf shot." Well of course it's a golf shot; I just hit a golf ball. You don't see Gretzky skating around going "there's a hockey shot, that's a hockey shot."
The major difference between the big shot and the little shot is the big shot is just a little shot who kept on shooting.
Every soul deserves a shot at a Cadillac, but not everyone should be guaranteed a Cadillac.
I don't worry about the last shot or the next shot. I concentrate. Every shot gets a clean slate. And when a shot is over, I wipe it out absolutely. Tell a joke or something. If you worry about how you looked, how well you did, you'll go insane.
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.
Some day we're gonna have interactive television where you can pick the shot that you want. You can watch defense, or you can watch the end-zone shot, or you can watch an isolated shot of Terance Mathis or whoever you want to. Because right now, the only thing that you watch is what the producer or director decides to show you.
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.
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.
I have always loved South Africa, where I shot 'Andaz' and 'No Entry.' Some of the biggest films of my career have been shot in Cape Town.
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.
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.
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.
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