A Quote by Kevin Smith

Live a "Why not?" life, man. Take the shot. The shot is always worth taking. — © Kevin Smith
Live a "Why not?" life, man. Take the shot. The shot is always worth taking.
It's been a part of my game for life. It's tougher to finish in the lane so you've got to find different areas to score efficiently and the mid-range contested shot is a shot a lot of teams will live with. And it's a shot I'm willing to live with as well just because I've gotten so many shots at it and I'm comfortable with it.
I've often been asked why my shot-taking is not stylish, why I don't think about visual statements. The truth is, style is irrelevant. I never think of the shot as much as I think of the characters and what they are saying and doing.
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.
The philosophy I always have is what's the sentence that would tell me about each shot. If I can't read why the shot's there, what is the story trying to say?
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.
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.
I think he takes a good shot, I take a good shot too, but taking too many shots is not good for any fighter. And it's not really a reputation you want.
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.
Notice how every science fiction movie or television show starts with a shot of the location where the story is about to occur. Movies that take place in outer space always start with a shot of stars and a starship. Movies that take place on another world always start with a shot of that planet. This is to let you know where you are. Novels and stories start the same way. You have to give the reader a sense of where he is and what's happening as quickly as possible. You don't want to start the story by confusing the reader.
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.
Before I was shot, I always thought that I was more half-there than all-there - I always suspected that I was watching TV instead of living life. Right when I was being shot and ever since, I knew that I was watching television.
Why is it that if you hit a shot to within a tenth of an inch of the hole, it's a great shot, but if it goes in, it's luck?
I live in a neighborhood so bad that you can get shot while getting shot.
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."
A shot of Shyam Benegal inspires me a lot. I wonder why a film of David Dhawan cannot have a shot like that.
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