A Quote by Mark Burnett

I'm the kind of person who if I was playing the role of someone who got shot, I'd probably want to get shot so I knew what it felt like. — © Mark Burnett
I'm the kind of person who if I was playing the role of someone who got shot, I'd probably want to get shot so I knew what it felt like.
He's a great shot-blocker. So once you go in there, you've got to either get into his body and get an and-one, or you've got to drive and kick. It's not all about trying to force the shot over a shot-blocker like Nerlens Noel. You've got to kick it.
I flew in combat in Vietnam. I got shot at, I shot back, I got shot down. Compared to this flight, I felt a lot safer in combat.
When I got shot I wasn't like 'yes' I got shot, now I can say that in my raps, when I got shot I said 'ouch'.
Every shot feels like the first shot of the day. If I'm on the range hitting shot after shot, I can hit them just as good as I did when I was 30. But out on the course, your body changes between shots. You get out of the cart, and you've got this 170-yard 5-iron over a bunker, and it goes about 138.
I knew that they were going to be reading actors for Manute, and I wanted to give it a shot. I wanted a shot to do it, and they embraced that and said, "All right, come on in. Let's see what you've got." So, I went in, and the rest is history. It felt good when I went into the office, and it just worked.
By the time I got to 'St Vincent,' I had shot so many scenarios I was ready for anything - I've shot kangaroos, I've shot dogs, cats, crowds, fight scenes, stunts, comedy, drama, handheld, dolly, helicopter, crane - I just felt that there was nothing I was unprepared for.
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.
I'm not the quickest guy in the world, so I figured if I beat a guy off the dribble, I kind of want to get my space and get my shot up fairly quick - not rush my shot or anything, but just get to my spot where I can make it and they have no chance of contesting it.
Most folks here got rules 'bout trespassing. Warning shot's fired right close to the head. Get they's attention. Next shot gets a lot more personal. Now I'm too old to waste time firing a warning shot.
I was so passionate about wanting the role in 'Like Crazy,' I filmed myself in the shower because that's where one of the scenes was set. It just felt instinctive. It was a close up! It would have been strange if I'd sent off a wide shot of myself. That's not the kind of work I want to do!
I knew I wanted to do music, but leaving such a successful career one would think I'd kind of shot myself in the foot. I knew I made the right decision, and at the end of the day it's up to me to get where I want to go, but it's a lot to take on.
The first video I shot for "A Zip and a Double Cup"â€"I have two versions, a remix video and a the originalâ€"because I wasn’t really trying to do anything. I just came home and got kind of high and shot a video in the parking lot. I just shot the video how I wanted to do it and posted it online and the next day it went crazy.
All I knew about shot putting was that my [older] brother could do 44 feet. I decided I wanted to beat him. . . . So I got a shot and went to work and made up my mind to do 45 feet.
To me I just, I'm a geek when it comes to cinematographers . And when it comes to Robert and when it comes to someone like Roger Deakins who shot Prisoners and he shot Jarhead.
To be one of the special ones, you've got to want to take that shot-you've also got to be willing to fail, learn from it, come back and take that shot again.
If you're playing a shot and your peripheral vision picks up a player moving as you play the shot, if your vision goes from the object ball to what they're doing, you can miss the shot by several inches.
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