A Quote by Michael Rooker

Time is definitely money, so if you screw up a day or a shot, you may not get a chance to go back and get that shot and redo that day. — © Michael Rooker
Time is definitely money, so if you screw up a day or a shot, you may not get a chance to go back and get that shot and redo that day.
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.
I'd like [Santa Claus] to give Wes Anderson, the director, enough money in his next budget for an aerial shot - just a little copter shot. He really wanted this one helicopter shot, and Disney wouldn't give him the money. Just wouldn't give him the money. Every day, he was talking to the studio about this helicopter shot.
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.
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.
When you're doing a live-action movie, you have your day set up and you're going to do this shot and this shot, and eventually the sun is going to go down. It's a sequential race to whatever is going to end the day.
In going for the last shot of the game most people wait too long to take the shot. Give yourself a chance to get the first shot and tap the ball in. Your players are normally inside the defense.
And even if you get shot by a stray bullet, you don't gotta go to no doctor to get it taken out, whoever shot you will take they bullet back! "I believe you have my property!"
Golf is day-to-day. It's shot to shot; it's not four days at a time.
What I try to do is find a weakness in my opponent. A way that I can hit you. One good, clean shot. Try to time it. If I can get it and the shot is there, if I find that shot in the first round and they go down, they go down. I'm prepared for anything, not just to get first round knockouts. If they're there, I'm not gonna resist to take them.
I get upset over a bad shot just like anyone else. But it's silly to let the game get to you. When I miss a shot I just think what a beautiful day it is. And what pure fresh air I'm breathing. Then I take a deep breath. I have to do that. That's what gives me the strength to break the club.
The blacks have their parties, hustle a little liquor, get some things together, and I used to play for those peoples. They'd come get me on time, but they wouldn't bring me back on time... Done picked cotton all day, play all night long, then pick cotton all day the next day before I could get a chance to sleep.
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.
Every day I try to tell myself that this is going to be fun today. I try to put myself in a great frame of mind before I go out - then I screw it up with the first shot.
I've been in Iraq, and it never occurred to me to go, 'Hey, this war is bogus,' to some guy who's 24 hours a day trying not to get shot at or blown up.
My dad moved to London in his early 20s and didn't really go back. So the irony is I've spent lots and lots of time in Ireland, but not with my dad. I've shot films in Belfast, where he's from. And I've shot in Dun Laoghaire. Which is great. And I've shot in Dublin.
I don't get tripped up in technology. I use technology as a tool. 'Oldboy' we shot Two Pro 35mm. For 'Da Blood of Jesus,' we shot digitally. We shot the new Sony F55. It's a 4K camera.
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