A Quote by Stephen Curry

I've taken countless shots in my life, so you know the ones when you're in rhythm, with a perfect release, and it's on track, that it's going in. — © Stephen Curry
I've taken countless shots in my life, so you know the ones when you're in rhythm, with a perfect release, and it's on track, that it's going in.
Although the assembly of the shots is responsible for the structure of the film, it does not, as is generally assumed, create its rhythm; the distinct time running through the shots makes the rhythm of the picture, and the rhythm is determined not by the length of edited pieces, but by the pressure of the time that runs through them. The pieces that 'won't edit', that can't be properly joined, are those which record a radically different kind of time
I think once you see a couple shots go down, and when you're getting shots in rhythm, the game flows.
There's the internal rhythm within a sequence, and then there's the rhythm between the sequences, and that's extremely important in constructing the narrative. For example, you don't put two big dramatic scenes right next to each other. But you can use the rhythm of the transition shots; they can often serve a double purpose.
The desire for perfect release and the real-world impossibility of perfect, whenever-you-want-it release had together produced a tension they could no longer stand.
When you're playing spot minutes, it's harder to hit those shots. But if you're getting volume shots, now it's a lot easier to get a rhythm.
When I was briefed on the shots of 'Kabhi Yaadon Mein,' all I could think of was Darjeeling as the perfect scenery to shoot the soulful track and the entire team instantly agreed upon this.
You don't have to hit perfect shots all the time here. The variety of shots you get to play, the shots you sometimes have to hit along the ground, it's just a lot of fun to me.
I'm going to miss shots. I'm going to make plenty of mistakes. It's not going to be perfect.
Often, women as little girls are sent off on a track for them to live a perfect life and be a perfect woman. Not for boys, who can be themselves with their mood and their temper.
I like trains. I like their rhythm, and I like the freedom of being suspended between two places, all anxieties of purpose taken care of: for this moment I know where I am going.
I always go for that live, honest feel when I'm going for that first rhythm track. I'll never hold back on a part just so it'll be easier for me to double it later on - to my ears, it sounds sterile if you do that. I always want to get that initial track kicking and full of slurs, squeals and feel. I'll worry about doubling it later!
I've been in the studio when you go through a track and you run down a track and you know even before the singer starts singing, you know the track is swinging... you know you have a multimillion-seller hit - and what you're working on suddenly has magic.
I've been in the studio when you go through a track and you run down a track and you know even before the singer starts singing, you know the track is swinging ... you know you have a multimillion-seller hit - and what you're working on suddenly has magic.
Maybe you're getting into the rhythm of sailing life," says James. He looks out at the waves that are rolling in to lap against the dock. "You know, the tides going in and then out, the wind blowing east and then west, the high of a perfect day out on the water, the low of a thunderstorm or a wind that won't go your way.
I don't shoot shots just to shoot shots. I'm always working in a rhythm, working on mechanics. I've got a checklist of the things I need to do with my form, my legs, my arms, all of my mechanics.
The thing that I always notice that dates a record is the rhythm section. With a good arranger the music can be timeless. But, rhythm can change, because heaven knows, we didn't know rock was going to come in, did we?
This site uses cookies to ensure you get the best experience. More info...
Got it!