A Quote by Mohamed Bamba
If you look at all the great shot-blockers of all time, they had length, and they had instincts. Even when you look at guards, like Dwyane Wade. He's one of the best shot-blocking guards ever, and he has great instincts. He's kind of cat-like.
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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.
It's great, just to even get mentioned in the category with the type of person like Dwyane Wade, one of the best NBA players in the league today. It's great, and that makes me work even that much harder to be better than him.
'The Restraint of Beasts' is a painful subject. We'd shot 60% of the film when I had to stop. The material looks great, like nothing I've ever done or even seen before. It could have been really great, definitely original.
In the theater, you didn't have any marks. Your instincts in rehearsal told you what the blocking was. On film, they reversed it. They decided ahead of time what your instincts were, before you even arrived.
Cat, hmmm? From where I sit you look more like a Kitten." My head jerked around and I shot him an annoyed look. Oh, I was going to enjoy this, all right. "It's Cat," I repeated firmly. "Cat Raven." "Whatever you say, Kitten Tweedy.
Some shots, for me, are a good shot even if it's forced. The way it might look to a person watching, they might look at it like, 'That's a tough shot.' But for me, it's not a tough decision. I'm committed to those shots, and I spend time working on them.
When the guards noticed my chessboard, they all wanted to play me. And when they started to play me, they always won. The strongest among the guards taught me how to control the center. After that, the guards had no chance to defeat me.
I'm a point guard, I've always been a point guard, I've played point guard all my life. Personally, I feel the best point guards make other players look better and create their own shot. I fit in that category.
I have great instincts, like the instincts of a squirrel. You know, like when you're driving and a squirrel stops in the middle of the road.
When you open up the court, now the point guards can see, they can score, and they're not afraid to take shots. Before it was like, 'No, don't take that shot. That's a bad shot. Pound it inside. Pound it inside.' And the philosophy has gone a little bit away from that, because it makes sense to do it the other way.
and now sometimes I'm interviewed, they want to hear about life and literature and I get drunk and hold up my cross-eyed, shot, runover de-tailed cat and I say,"look, look at this!" but they don't understand, they say something like,"you say you've been influenced by Celine?" no," I hold the cat up,"by what happens, by things like this, by this, by this!
Franklin Roosevelt didn't poll, because he had great political instincts. Now we have polls; we don't need instincts. But is that a change in principle? Is it a change in principle that we use a Xerox instead of carbon paper? It's of the same order of magnitude.
Athletes can not look the same and be great in their individual sport. The example I like to use is Gabby Douglas. She could not flip in the air if she was built like me, but then Gabby Douglas couldn't throw the shot put. I was built like this because I was made to throw the shot put.
The guards didn't carry weapons. Malcolm X had insisted that the guards not carry firearms that day [February 21, 1965].
Maybe if I'd gone in younger, I wouldn't have had that feeling, but I've seen an enormous amount of changes since the early-'70s in how this stuff is shot. I did the first TV movie ever shot in 18 days; before this film the normal length of shooting a TV movie was between 21 and 26 days. We shot a full-up, two-hour TV movie in 18 days with Donald Sutherland playing the lead, who had never worked on television before.
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