A Quote by Lee Trevino

Caddies are a breed of their own. If you shoot 66, they say, "Man, we shot 66!" But go out and shoot 77, and they say "Hell, he shot 77!" — © Lee Trevino
Caddies are a breed of their own. If you shoot 66, they say, "Man, we shot 66!" But go out and shoot 77, and they say "Hell, he shot 77!"
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.
A lot of directors, they don't go into the editing room during the shoot. When they come back, they've forgotten what they've shot. That's why their films come out a year after they shoot them.
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.
I'd say, go ahead, shoot your shot. More power to ya if you can come up with a different angle on the character.
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?
That's when we decided to stop in '66. Everyone thought we toured for years, you know, but we didn't. I joined in '62, and we'd finished touring in '66 to go into the studio where we could hear each other... and create any fantasy that came out of anybody's brain.
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 think the worst thing you could do is not shoot the shot. When you shoot you got two options: It can go in or you can miss, and even in the miss you might learn.
A new breed of ministers is rising up who will not wear out for the gospel. They are so caught up in passion, unity, and fullness that they run out and say, “World, here I come!” If they go into places where they get shot at, they are thrilled. If they do not get shot at, they are thrilled. If the place they go is filthy, they are thrilled. If it is clean, they are thrilled. Jesus is the joy set before them. He is their exceedingly great reward.
You go through slumps. The shot feels good in practice and looks good and for whatever reason in the game, they're in and out. Sometimes it gets frustrating, but for me, I've played in the league long enough to know you just have to put in the work in practice and shoot with confidence, shoot your way out of it.
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?'
Although I look really good holding a gun, I can't shoot. I can't shoot anything. I'm the worst shot.
I can't relate to the people who shoot wolves. I'm guessing the person who shot Wolf 06 wouldn't relate much to me either. You let people go out and shoot hundreds of wolves and watch violent movies, and then you're surprised when they go on a rampage shooting other humans. You can't separate violence like that.
As an actor I want to do as many takes as I can. I wanna shoot the scene... or shoot the shot 'til they make me quit.
It's not just when you shoot, or what you shot, or where you shoot, it's the combination of the three.
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