A Quote by Kyle Korver

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?
Now, everybody knows the basic erogenous zones. You got one, two, three, four, five, six, and seven. ... OK, now most guys will hit one, two, three and then go to seven and set up camp. ... You want to hit 'em all and you wanna mix 'em up. You gotta keep 'em on their toes. ... You could start out with a little one. A two. A one, two, three. A three. A five. A four. A three, two. Two. A two, four, six. Two, four, six. Four. Two. Two. Four, seven! Five, seven! Six, seven! Seven! Seven! Seven! Seven! Seven! Seven! Seven! Seven! Seven! [holds up seven fingers]
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.
Where you can make up ground is if the wind blows and your opponents make big numbers. I think you can shoot three, four, five-under par. But to make up a six, seven or eight-shot lead, that will be tough without the leaders coming back.
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.
I have good mid-range shot and I can shoot threes, but in Europe coaches didn't want me to shoot outside because I was tall and big.
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.
The most difficult thing with a new shot is if you go two or three games without making it, or you struggle, and people start saying, 'You can't shoot 3s,' or, 'Why do you shoot 3s?'
It's not just when you shoot, or what you shot, or where you shoot, it's the combination of the three.
Reading what a good shot is, based on time and score of the game, based on the shot clock, based on my position - there's a lot of things that go into it. It's a lot of things that you think about based on when to shoot it or when not to.
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.
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 shot my undergraduate work on 35mm. I love the way it looks, but I haven't shot film in a while. If you can avoid scanning, it makes your practice faster. Oh, and I shoot a lot of Polaroid, too. I have about five hundred Polaroids from my film that I hope to show soon.
I don't have continuity people. I don't have clapper boards. I don't have monitors. I shoot very fast, I shoot a lot, and we just keep on going.
The three-ball is an easy shot if you're uncontested, but when they know you can shoot, it's a lot harder to get off.
I've shot a lot of places, and I've produced. I always thought, 'Gosh, when you shoot in a big city, it's so difficult.' And New York, I always think, 'Where are you going to park the trucks? How are you going to stop the traffic?'
We guard the shooter. A lot of guys shoot way behind the 3-point line. We guard where the shooter is, not where the line is.
This site uses cookies to ensure you get the best experience. More info...
Got it!