A Quote by Phil Mickelson
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.
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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]
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?
From the three, you then use one to make eight ones. You add those ones to the three, and you get one-three base eight, or, in other words, In base ten you have eleven, and you take away seven. And seven from eleven is four. Now go back to the sixty-fours, you're left with two.
Of the first seven novels I wrote, numbers four and five were published. Numbers one, two, three, six, and seven, have never seen the light of day... and rightly so.
In every squadron there were, perhaps, four or five pilots who exuded confidence. They knew that they were going out to shoot. The rest knew sub-consciously, that they would make up the numbers, mill about, and get shot at.
It strikes! one, two, Three, four, five, six. Enough, enough, dear watch, Thy pulse hath beat enough. Now sleep and rest; Would thou could'st make the time to do so too; I'll wind thee up no more.
Wherever I am, I start my day, it's the same. I'm not an early bird. I'm not waking up at five o'clock, six o'clock; it's usually seven-thirty, eight o'clock, and I will then read the newspapers, emails from around the world and make phone calls.
A lot of my life involves sitting and having make-up put on; whether it's on a movie set or for a photo shoot. When you're wearing that kind of make-up all the time your skin does get all this sensitivity, so it's important that you make sure you have make-up that is easy on your skin and not too harsh for it.
At the end of the day, natural-gas peakers sit back there and get financed so that the Midwest corridor can have a huge [period] of four to five days of no wind. The peakers are running big time to make that up, because that is the swing piece that can always be turned on.
I try to believe in as many as six impossible things before breakfast. Count them, Alice. One, there are drinks that make you shrink. Two, there are foods that make you grow. Three, animals can talk. Four, cats can disappear. Five, there is a place called Underland. Six, I can slay the Jabberwocky.
It's not how you start the season, it's how you finish. If you wind up helping the team make the playoffs, that's what you play for. You don't play to put up your numbers, but to try to get a chance to make it to the World Series.
If I had to rate myself between one and 10? If you're a gingerist and like ginger guys, I guess I'm a seven, with make-up on maybe an eight. If you're not a gingerist, I'm probably a six, six and a half.
I plot the par 5s back from the green and make my plan. If I can reach the green in two shots, I'm going to be aggressive off the tee. But if 's a three-shot hole, the goal changes. You want to put yourself in position to hit your favorite shot to the green.
Everything in life is made up...You make up that you are happy. You make up that you are sad. You make up that you are in love. If you don't make up your own life, who's going to make it up for you? It's bad enough when you die and everybody can make up their own stories about you. —Mr. Hooft
I get up at seven for the make-up, Rita Hayworth at six, Joan Crawford and Bette Davis at five. I don’t want to know the time when I’ll have to come to the studio even earlier.
People seem to think that my movies are so carefully coordinated and arranged - and in a lot of ways, they are - but every single time I make a movie, I feel that every director makes these choices. You make choices about your script, you make choices about your actors, and how you're going to stage it, and how you're going to shoot it, and what the costumes are going to be like, and in every single detail, you make that decision. And for me, what ends up happening is, I wind up surprised at the combination of all these ingredients. It never is anything like what I expected.
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