A Quote by Scott McClanahan

There was a lot of tension between my dad and his mother and brothers. Sometimes when I was over there, I remember thinking, "I don't want to get shot." — © Scott McClanahan
There was a lot of tension between my dad and his mother and brothers. Sometimes when I was over there, I remember thinking, "I don't want to get shot."
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.
There's always a tension between those who would like to garner wealth, and they contribute a lot to society. There's also those who say, 'I believe in the common good. I want that to be enlarged.' They contribute a lot to society. The tension, the debate, between these two views is extremely important to our progress.
It was natural for me to go to local tournaments with my mother and watch my brothers compete and sometimes be left with my mom at home while my dad would take my brothers away to different tournaments and competitions. So I started doing everything they did.
My mother was born in the city, my dad was an immigrant. Probably from Germany. Could have been Austria, could have been Poland. The borders were changing. My dad brought over a large family of Shatners when he was very young. Scraped together the money, got 11 brothers and sisters a passage on the boat. There's a lot of Shatners in Montreal.
One of my earliest memories involves sitting on my dad’s lap in his studio in the garage of our house and watching him draw. I remember thinking: ‘I want to do that, too,’ and I pretty much decided then and there at age 2½ or 3 that I was an artist just like Dad.
I don't remember getting to see my dad race a lot until later in his career. I remember being at the track a lot. I still see a lot of pictures of myself around my dad at the track as a little kid. The racing I've known him more for is during his time racing with Ray Evernham. The rest of it was before I was ever around.
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.
If anything, I'm overacting in the ring because of the facials and the body language. I want the guy in the cheap seats to be able to see what I'm thinking, the expression on my face. But when you're filming a movie, it could be a two- or three-camera shot, and you're doing it over and over and over again. It's not live TV; it's a lot different.
Dad wouldn't let me fool with his guitar much, because I'm left-handed, and I'd pick it up upside down. But I remember learning to sing 'Paper Doll,' the Mills Brothers song - this was during the war - and I remember my dad taking me down to one of those little record booths where you could make spoken letters to send home.
My dad left his psychology hat at the door and put his dad hat on when he came into the house. It's amazing having my dad have that awesome job. My mother was a model back in the day. I've seen the pictures. My mother's beautiful.
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.
In Britten or Berg, there's a tension between the sweet and the sour, between the familiar and the unfamiliar, the tonal and the atonal, the happy and the sad. That, to me, is what all western art is about - that tension. It's why we want to say anything at all.
My dad was the 10th of 11 children. My mother has three brothers. My dad was a salesman, my mum was a school nurse.
There was a lot of improvisation on 'Step Brothers.' I remember it being really frightening, and it took me a long time to get used to it and grow to be able to hold my own. But I remember when it was done feeling like, 'I don't know if I ever want to go back to working another way.'
I remember my mom telling me that when John Belushi died, my dad cried. I remember thinking that was strange as a child, but today, I kind of get it.
When I was 7, my dad asked his friend to teach me. I played my first tournament competition when I was 8. I remember I shot around 125.
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