A Quote by Rakul Preet Singh

We shot 'Telusa Telusa' song in Bolivia. It took us 50 hours to get to the location. We shot in high altitudes, and oxygen cylinders were kept handy. — © Rakul Preet Singh
We shot 'Telusa Telusa' song in Bolivia. It took us 50 hours to get to the location. We shot in high altitudes, and oxygen cylinders were kept handy.
The major difference between the big shot and the little shot is the big shot is just a little shot who kept on shooting.
It took me 10 fights to get the damn interim title shot and then 11 to get an undisputed shot.
'Bruce Lee' is the fastest film in my career. But the quality is also very high. The last song was shot continuously for 24 hours. We worked like robots for that song, but the quality is outstanding.
And when I say [M2 was] lo-fi production, it was so great and grimy. I was used to that world anyway, because we shot in bars, we shot in thrift shops, we shot on the street. And the bars, they would have just opened, and still there was barf on the floor and beer. We certainly kept it real. It was a small crew.
People say, 'Grimm, you've been shot like 50. So why don't you just rhyme like 50? Then, you could get the money like 50, Otherwise, before you see success...you'll be 50.'
It took me 11 years to get a shot at the WWE championship; not just to win it, but just to get a shot, but luckily I was able to capitalize on that and become WWE champion, but if I had quit I wouldn't have been in that position.
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 took a shot of morphine, liked it, and eventually became addicted. It takes quite a while. It took me three months the first time. This nonsense of people becoming addicted with one shot is medically unsound.
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.
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.
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.
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.
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.
When I was on the practice squad, it felt like I was just a guy who came in off the street three days a week to help actual NFL players get better. It was unsettling, unfulfilling and there were a few times when I wondered whether I would get my shot. But I kept showing up and kept competing. I was too stubborn to stop believing in myself.
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.
Anybody that shoots a hook shot, whatever hand, I jump up and cheer because it's the easiest shot, it's the best tweener shot.
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