Seventh grade is when I met my shooting coach and he fixed my shot. I used to shoot with two hands. Really ever since is when my I started to shoot real well.
I started playing basketball when I was 6 or 7. I wasn't strong enough to shoot the correct way, so I just used two hands. As I got older, I just kept shooting that way.
I love the digital camera because it makes shooting easier and economical. I shoot fast, and I can shoot a lot. I shoot rehearsal; I just keep on shooting nonstop.
I love Michael Anthony. We met on set for a shoot and ever since then he has been my guy. We don't do too much conceptualizing - it's usually just a vibe we are feeling based on the wardrobe or mood of the shoot, and we go from there.
When you're working with a script and you have three pages for that day, you have to shoot that. It can become sort of like a prison, because by the time you've shot what you need to shoot, you don't really have time to think or shoot anything else.
I try not to tell students where to shoot, when to shoot, or what to shoot. I feel finding the picture is the most important part of being a photographer. The actual shooting is of lesser importance.
Although I look really good holding a gun, I can't shoot. I can't shoot anything. I'm the worst shot.
A lot of guys can shoot two, three, four, five, six, seven, 10 feet behind the 3-point line. A lot of people can do it. It's just, when is it going to be considered a good shot? When are coaches going to encourage you to shoot that shot?
Haven't you ever heard of the saying, "If you want to shoot the general, first shoot the horse!"?' --Lin If you wanna shoot the general, then you should just SHOOT THE GENERAL!' --Ed
I was constantly shooting. Sometimes I would shoot through the night and in the morning go to my next shoot without any sleep or just two hours of sleep.
I think the worst thing you could do is not shoot the shot. When you shoot you got two options: It can go in or you can miss, and even in the miss you might learn.
In a very real sense, all you do when you're shooting film or television is you shoot a scene, and then you shoot another scene, and then you shoot another scene.
I became passionate about nature filmmaking when I graduated from UCLA, and one of the things I always wanted to do was shoot really high quality film, so I got into time-lapse photography - so that means when you shoot a flower, you're shooting, like, one frame every twenty minutes, so that's basically two seconds of a film per day.
The most difficult thing with a new shot is if you go two or three games without making it, or you struggle, and people start saying, 'You can't shoot 3s,' or, 'Why do you shoot 3s?'
Shooting against greenscreen... my choice of filming is, like, I'd rather shoot on location than shoot on a set, and I'd rather shoot on a set than shoot against greenscreen. You start stripping away the layers of reality, and it becomes a lot less fun to actually film.
The only real difference between shooting 'Firefly' and 'Serenity' was that on 'Serenity,' we had a lot more freedom with time. When you're shooting a television show, you usually have anywhere between six and nine pages of script to shoot a day, and only twelve hours to do it. But with 'Serenity,' we could shoot one scene all day long.
The first time I shot the hook, I was in fourth grade, and I was about five feet eight inches tall. I put the ball up and felt totally at ease with the shot. I was completely confident it would go in. I've been shooting it ever since.