A Quote by Sidney Lumet
Don't let the difficulty of actually achieving a shot make you think that the shot is good.
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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 think a shot can actually influence a scene in a huge way. For example, comedy is always better in a two-shot. What's between the characters is what's funny. So you learn about these things as you go along.
I mean, one shot you treat like you have forty little matches instead of one forty shot match. It makes all the difference in the world. It's easier to just forget about a not so good shot.
I think he takes a good shot, I take a good shot too, but taking too many shots is not good for any fighter. And it's not really a reputation you want.
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 am not a good shot. Few of us are. To make up for this I hold my fire until I have a shot of less than 20 degrees deflection and until I'm within 300 yards. Good discipline on this score can make up for a great deal.
When you play a tiebreaker, you dont have time to think of anything, ... You have to go for your shots because one shot can make such a difference. Thats the kind of shot that can break an opponent.
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.
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.
To have a second movie that you're proud of and that actually turned out the way you wanted, shot by shot, I realize I'm probably going to be able to do this for a little while for my living.
He knows all the golf lingo. You know? You hit your ball, he's like "there's a golf shot. That's a golf shot." Well of course it's a golf shot; I just hit a golf ball. You don't see Gretzky skating around going "there's a hockey shot, that's a hockey shot."
I try to respect the rules of the silent movies and I tried to make signification to make sense, and also the crew were very good and the fact that we shot in LA in the real Hollywood, studios and houses. We shot in the bed of Mary Pickford, and you cannot be any more accurate than that, so that helped a lot.
You have to think about one shot. One shot is what it's all about. A deer's gotta be taken with one shot.
This is pool. This is setting up your next shot, and I always want to make sure when we're setting up San Antonio's next shot we have a good shot at making sure that we continue to build our infrastructure in such a way that San Antonio will be a player for years to come in national defense issues.
The major difference between the big shot and the little shot is the big shot is just a little shot who kept on shooting.
I don't worry about the last shot or the next shot. I concentrate. Every shot gets a clean slate. And when a shot is over, I wipe it out absolutely. Tell a joke or something. If you worry about how you looked, how well you did, you'll go insane.
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