A Quote by Lisa Kleypas

If you have to tell someone they call the shots, they're not really calling the shots. — © Lisa Kleypas
If you have to tell someone they call the shots, they're not really calling the shots.
You go through periods of times where bands are calling the shots, and then sometimes, you've got the record companies calling the shots. I think it has to be a bit of both to make the thing work.
If I'm blocking shots or changing shots or even preventing players from taking shots, I'm helping the team and we are likely to win when our defense is playing well.
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 try to do a good job of contesting shots and blocking shots and altering shots, but I've got to do a better job of doing more.
I believe that good defense embodies seven cardinal principle: reduce the number of your opponent's shots; force your opponent into low percentage shots; control everything within 18 feet; eliminate second shots; no easy baskets; point the ball on all long shots; and prevent the ball from going into the pivot man.
I've been feeling really comfortable on clay because I have more time to set up my forehand. I can use a lot of different shots - drop shots and high balls. You can mix up a lot of shots, so it's actually more fun to play on clay.
There's two facets of this game. You know, if I'm not making shots, OK, then I have to do something on defense. So if I'm missing shots or making shots, it doesn't affect my overall game.
Making the tough shots and leaning in a certain way and a fadeaway and stuff like that, those are tough shots, but those are shots you have to learn to make in this league.
There are basically five ways to score in the half court. Layups, mid-range, three-pointers, free throws - and then what I call 'tough shots.' Tough shots come anywhere on the floor, under difficult circumstances. The ability to create that shot is a special skill in the NBA.
But now the shots began—not many, but one shot is a fusillade if there have been no shots before.
An editor does not just join shots. He creates emotions out of the shots.
You have games when you miss shots and when you make shots. But knowing you're here for a reason and you're an NBA basketballer helps.
I feel that I can make certain shots, tough shots, and that I can play better when things aren't going well.
I just tried to make things happen, whether it was (my) shots or getting shots for other people.
I've storyboarded for things other people have shot. So thinking in shots and orchestrating shots is not foreign to me at all.
I think of all my iron shots as punches - not punch shots, but how much pressure I'm applying to the hit.
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