A Quote by Kyle Korver
When I came into the NBA, coaches wanted you to shoot a midrange shot or two before you shot your 3 - you know, to get an 'easy one' first.
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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.
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?
The first video I shot for "A Zip and a Double Cup"â€"I have two versions, a remix video and a the originalâ€"because I wasn’t really trying to do anything. I just came home and got kind of high and shot a video in the parking lot. I just shot the video how I wanted to do it and posted it online and the next day it went crazy.
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.
In college, the line is so close that you can kind of half-heartedly shoot the ball off-balance and fading away. To shoot an NBA three, because the arc of your shot has to be a little higher, you have to be squared up and get your legs into it more, which can be tough in the fourth quarter.
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.
It affects you when you get shot at, when your children get shot at. In our case, we had one shooter, a guy from Illinois mad that Trump won, and decided to come to Washington and shoot GOP congressmen.
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.
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.
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.
The three-ball is an easy shot if you're uncontested, but when they know you can shoot, it's a lot harder to get off.
I got my shot at the movies. I love doing standup live. I didn't know what I wanted to do. I wanted to try movies, so I gave it a shot. I had two shots and I didn't really do it. That wasn't really happening for me. On the second movie I got to meet the girl that would be my wife. So I got to hang out with her and get engaged, and get the whole wedding thing. It was really great.
I have good mid-range shot and I can shoot threes, but in Europe coaches didn't want me to shoot outside because I was tall and big.
If you see the NBA now, a lot of it is in transition. Most people now try to get an easy shot off in six or eight seconds before the defense gets set.
I never felt in competition with anybody in war photography. You're lucky to get your ass in and out again. It's as simple as that. It's the easiest photography in the world to shoot somebody who's been shot up. It doesn't take a genius. That's easy. The only thing you need to know is your photography. Get in and if you're lucky get out. And get as close as you can get.
That's the storyboard that we have in the beginning [of Valerian]. It's an easy shot. It's just a spaceship coming in. That's the first layout. On the first layout, we see the timing of the shot and the speed. It starts to get some shadows, and we see that everything is moving in the back.
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