A Quote by Khris Middleton

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. — © Khris Middleton
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.
When I came into the NBA, coaches wanted you to shoot a midrange shot or two before you shot your 3 - you know, to get an 'easy one' first.
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?
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.
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.
I'd rather take a contested shot than an open shot any day ... It's kind of boring when you take open shots
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.
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."
When you open up the court, now the point guards can see, they can score, and they're not afraid to take shots. Before it was like, 'No, don't take that shot. That's a bad shot. Pound it inside. Pound it inside.' And the philosophy has gone a little bit away from that, because it makes sense to do it the other way.
Even if I do miss a shot, I'm going to be comfortable to get back up there and shoot the same shot again. Make or miss, I'm not going to be frustrated but move on to the next play.
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.
When you cut from a long shot to a close shot, you're doing it for a reason, or if you let something stay in long shot for a long take. On the short films, I was teaching myself how to express something personal cinematically, how to use the language of film the best I could.
I can tell by body language who wants a shot and who's going to make it and who's going to take a bad 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.
If I see an open shot, I'm going to go shoot it. That's what I work for.
The major difference between the big shot and the little shot is the big shot is just a little shot who kept on shooting.
You have to go in with a mindset, just if you're open you're going to shoot your shot.
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