A Quote by Kyle Korver

I don't shoot shots just to shoot shots. I'm always working in a rhythm, working on mechanics. I've got a checklist of the things I need to do with my form, my legs, my arms, all of my mechanics.
I never casually shoot shots, ever. I shoot the same way every time. I shoot the same shots that I'd shoot during the game.
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.
At first you see a lot of people say 'Oh he's good, but he can't shoot' or 'Oh he's good, but can his shot translate to the NBA?' That just made me go into the gym and work that much harder to show and prove that I can shoot outside shots, and I can make shots.
That is what shooting is. There is no secret sauce, man. You've got to find mechanics that you can make the same every time, and you've got to do it over and over again, and you can't just shoot for rhythm. You've got to understand what you are doing. You have to focus on those details every day.
I love thinking about mechanics and having your mind agree with the mechanics. Sometimes you can shoot it correctly, but your mind doesn't think that it's right. So it's like, how do you get your mind to trust that that's the right way to shoot it.
I've always wanted to shoot a good percentage for my team, because I'm the point guard, and I can take fewer shots, still score more, so that I can get my teammates feeling good about themselves. That was always my feeling - that if I shoot a high percentage, I don't have to shoot a ton.
I'm working on everything, especially staying balanced when I shoot the ball. That's the biggest thing, as well as taking good shots within the offense.
I shoot a lot of bank shots and a lot of shots around the perimeter. There's a lot of things I like to work on, but I know my bread and butter when it comes down to it, and that's in the post.
My main goal is to help the team as much as possible anyway I can. If they need me to shoot the three, I'll shoot the three. If they need me to run the floor and block shots, I'll do that also.
On Fantastic Mr. Fox, I got used to working with animated storyboards as a way of planning for the shoot. We did a lot of sequences that way with this movie. Partly as a result of that, I decided to build more sets in order to do certain shots.
To improve my free throws I went back to the mechanics and really learning how to have form and shoot the ball, so I have to get comfortable with that.
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.
I build confidence when I practice a variety of shots - hitting it high or low, working the ball. A lot of golfers go to the range and just hit full shots. That doesn't build on-course confidence, because you won't always hit full shots out there. My confidence is built on knowing I can effectively work the ball in any circumstance.
Just someone trying to shoot in 70mm deserves the nomination, and he[Quentin Tarantino] is shooting interiors, like tight interior shots, for that matter. Obviously [Quentin] is the director and demanding the shots, but all credit for the beauty of that film [Hateful Eight] goes to the director of photography.
Sometimes, the best shots you can put up are the ones when you don't shoot the ball - you gotta give your legs a rest sometimes.
I'm really specific in the way that I shoot. I've always had a very good sense of what I need in the editing room. I used to shoot in a way that drew more attention to the camera and I've tried, in each film, to draw less and less attention to the camera. I think when you pay attention to the shots, you're aware of the fact that there's a director.
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