A Quote by Tony Evans
Don't wait until you are a big shot to do big shot things.
Related Quotes
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 never start editing a film until it's completely shot; I don't edit along the way, ever. When it's finished I come in here [screening room] and we start with reel one, scene one and start editing shot by shot by shot until we're finished.
Those are the moments people remember at the end of the game: You make a big shot. 'Yeah, he made a big shot.' I feel like those are the moments I work for and make sure I'm always ready for.
A big shot is a little shot who keeps on shootin'
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.
A jump shot can get you a shoe deal, a big house, a supermodel, fancy cars, a bunch of yes men, a Swiss bank account. But none of these things can get you a jump shot
I'm not a big fan of shooting something that looks like it could belong in any movie. I'm not a fan of, okay, 'wide shot, wide shot, medium shot, close-up, close-up - we'll figure it out in post.' I hate that.
I learned something very important early on: You accept what happens and move on. In other words, if I hit a bad shot, I can't change it. There is only the next shot. That was a big lesson.
I love the rehearsal, as long as it's not over-rehearsed. I love it when the actors can rehearse until we feel really comfortable, and then the crew come in and shoot it. I'm not especially a big fan of rehearsing with the crew and the crew rehearsing and, "Let's rehearse this tracking dolly shot 25 times until it's just right." Television has to be shot a certain way to have a certain look. And sometimes the tried-and-true method is the best.
There's nothing worse than an ostentatious shot. Or some lighting that draws attention to itself, and you might go, 'Oh, wow, that's spectacular.' Or that spectacular shot, a big crane move, or something.
There are two things I will always remember. First, a shot against Derby that hit the inside of the post but didn't go in, and we could only draw 2-2. And then the really big chance against Bayer Leverkusen, two minutes from the end of the Champions League semi-final, when I shot over the bar. That hurt a lot.
I've always thought the expression 'passion project' was kind of a cliche until I started working on 'Big Shot' for 'ESPN.'
Ninety percent of the coaches in the NBA are guards, and there aren't very many big men people coaching, I happen to be one of them and when I coached, everybody on my team, including the guards, had a hook shot, so that it was their bail out shot.
Ninety percent of the coaches in the NBA are guards, and there arent very many big men people coaching, I happen to be one of them and when I coached, everybody on my team, including the guards, had a hook shot, so that it was their bail out shot.
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.
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.
