A Quote by Manu Ginobili

Obviously, there is not one player in the world that doesn't like making shots. — © Manu Ginobili
Obviously, there is not one player in the world that doesn't like making shots.
Dirk was obviously a player that I looked up to. In high school I actually wore No. 41 in honor of Dirk. He was the first player where I was like this guy is seven-feet tall and shooting jump shots and shooting threes, this is what I want to be like.
There's two facets of this game. You know, if I'm not making shots, OK, then I have to do something on defense. So if I'm missing shots or making shots, it doesn't affect my overall game.
Making the tough shots and leaning in a certain way and a fadeaway and stuff like that, those are tough shots, but those are shots you have to learn to make in this league.
I've been in a band, so I understand the politics. Sometimes the bass player doesn't like what the guitar player is doing, and you have to sort of even that out. But I've also always loved the technology part of it. I've always loved the studio part. Making albums. Besides writing songs, which has been my primary thing, making records would be second. Obviously, touring would be third. Touring wasn't my favorite thing to do, but the first few tours were pretty fun. Seeing the world and everything.
Obviously, I can always get better on defense, improve intensity, my willingness to be locked in and stay in a stance, all that stuff is great, but I feel like playmaking, for myself, not only to create shots for myself but to create shots for others, benefits everybody.
I look at like this: Any player I guard, long twos or shots like that, if they make them I still think that's good defense. You can't make those shots at a high percentage the whole game. It's just hard to make long two-pointers, step-backs, fadeaways, off-the-dribble crossovers.
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.
LeBron's probably the best player in the world, so you just have to make it tough for him, make him take tough jump shots and things like that.
The thing I like to do when I'm making records is to keep it exciting, as opposed to, 'There's a bass player, guitar player... ' Just a little variety.
That $27,000 that a young player will now get just for making the main draw at the Australian Open is huge. It can set them up for a couple of months which at that level you really do need that kind of help. It sounds like a lot of money, but when you're travelling the world trying to make it as a tennis player, it doesn't last long.
It's got to feel good off the face, it's got to look good from on top of the ball. And then, obviously, it's got to perform. But in those iron testings, obviously, I'm just trying to hit the best shots I can.
I feel like I'm an okay piano player. To the music world, to people that's in the hip-hop culture, they probably look at me like, 'Zaytoven the greatest piano player in the world.' I'm okay.
I built my career in the league playing defense and making shots, and also making plays when I needed to.
If I'm blocking shots or changing shots or even preventing players from taking shots, I'm helping the team and we are likely to win when our defense is playing well.
Every player goes through streaks where they're just not making their shots. It may last two games, it may last ten games, and a lot of times, it's something off the court that is bothering you, or coach might cut your minutes for some unknown reason.
It was more of me rushing my shots than anything. Thats the biggest thing for me. I was making good moves, but at the end of my moves, I was rushing all my shots. I learned a lesson.
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