Top 1200 Big Shot Quotes & Sayings

I didn't have big movie offers, or any big agents wanting to work with me. I had to go grassroots, start at the bottom and go on 150 auditions before someone finally gave me a shot.

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.

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.

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.

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.

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.

I mean, one shot you treat like you have forty little matches instead of one forty shot match. It makes all the difference in the world. It's easier to just forget about a not so good shot.

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 was the National Juco Player of the Year, so I thought I was a big shot.

American companies will have a big shot at Iraqi oil.

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.

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.

My shot selection has to be good to score big runs.

I flew in combat in Vietnam. I got shot at, I shot back, I got shot down. Compared to this flight, I felt a lot safer in combat.

When you start thinking you're a big shot, you wash more feet.

I don't worry about the last shot or the next shot. I concentrate. Every shot gets a clean slate. And when a shot is over, I wipe it out absolutely. Tell a joke or something. If you worry about how you looked, how well you did, you'll go insane.

A perfectly straight shot with a big club is a fluke.

As every golfer knows, no one ever lost his mind over one shot. It is rather the gradual process of shot after shot watching your score go to tatters - knowing that you have found a different way to bogey each hole.

The only point in making money is, you can tell some big shot where to go.

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. But it's not necessarily right for the film — you jump out, you think about the surface, and you don't stay in there with the characters and the story.

I've seen a lot of highlights of Steve Kerr knocking down the big shots ... when a legend, Michael Jordan, trusted his teammate and passed it to him. He might have played two minutes, but he was ready to knock down the big shot.

You have to think about one shot. One shot is what it's all about. A deer's gotta be taken with one 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.

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.

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.

Don't wait until you are a big shot to do big shot things.

Well, outside of the tone, the big thing that I gained from working on horror film was how to shoot really quickly with no money. I learned how to be able to go into a production and know exactly what shot I need to get and how the shot needs to look and what performance I need to get out of the talent at a very quick pace.

I have a big, long episode [in Full Circle] with Calista [Flockhart], and then my character actually carries out through a lot of it because he was a cop investigating this crime. But it is almost hard to remember, even though it wasn't that long ago. We shot it so fast. We literally shot that whole episode in one day.

He knows all the golf lingo. You know? You hit your ball, he's like "there's a golf shot. That's a golf shot." Well of course it's a golf shot; I just hit a golf ball. You don't see Gretzky skating around going "there's a hockey shot, that's a hockey shot."

The invasion of Iraq, particularly, gave a big shot in the arm to the jihadi extremists.

I think that a lot of the most talented and driven people, they're not super deterred by failure. So if you put out a really big challenge, I think they get reality excited by that - they say, 'Hey, why not, let's go give it a shot, and if we fall short on that, at least we took a shot at doing something really important and meaningful.'

The time to hurry is in between shots. It's not over the shot. It's timing how people walk. You have to add that to the equation. If you've got somebody walking slow and they get up to the shot and take their 20 seconds, what's the aggregate time for them to hit that shot in between shots? That's what really matters. It's not the shot at hand.

So much of the game is mental, and that's one thing that I've always wanted to be good at. That if I miss a shot or make a bad play, to never let your opponent see that you are in duress or upset - that they've won in any way. So if I make a big game-time bucket or if I miss a shot, you'll see the same mannerisms. I move on to the next play.

I shot 'Fruitvale Station' on super-16, and then I shot a movie called 'The Harvest' on 35mm, and then I shot 'Little Accidents' on 2-perf 35.

Not missing games, miss one game due to injury in my career, and that even hurt me to miss that game, but I just love to get out there and compete, both ends of the ball, and I don't think I'm afraid to take the big shot. If I'm 2-for-15, I'm not afraid to take that shot, make it 3-for-16.

I'm not trying to be a big shot or anything like that, but I get my drinks half price.

I didn't have big movie offers, or any big agents wanting to work with me. I had to go grassroots, start at the bottom and go on 150 auditions before someone finally gave me a shot

I can tell you a graphic difference. In Prague, for example, big red posters were put up on which could be read that seven Czechs had been shot today. I said to myself: If I put up a poster for every seven Poles shot, the forests of Poland would not be sufficient to manufacture the paper for such posters.

Does anyone remember who shot Kubrick's movies? Do you remember who shot David Lean's movies? No one remembers who shot 'Dr. Strangelove' or 'Barry Lyndon.'

Scale is very easy actually. Put a camera on a jib or a drone and get bloody big shots on big sets, it's very easy. But then you're distracted. If you're looking at the shot, you aren't following the story any more.

Most folks here got rules 'bout trespassing. Warning shot's fired right close to the head. Get they's attention. Next shot gets a lot more personal. Now I'm too old to waste time firing a warning shot.

You are what you think. So just think big, believe big, act big, work big, give big, forgive big, laugh big, love big and live big.

You shouldn't be a big shot about your fate. I'm an enemy of Destiny, I'm not a Greek, I'm a Berliner.

A big shot is a little shot who keeps on shootin'

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.

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.

You look at today, it's a different situation. You have a game that has been transformed into a game where almost every shot is either an outside shot - a three-point shot - or a dunk.

Fighting somebody like Manhoef, who can take anyone out at any point in time - that was a big win for me and one of the best finishes. In that fight, it wasn't looking good for me, but I kept believing in myself and was able to land a big shot, which was huge!

I don't care! I don't have to show anybody my games just because they're a big shot!

Habitat gives us an opportunity which is very difficult to find: to reach out and work side by side with those who never have had a decent home-but work with them on a completely equal basis. It's not a big-shot, little-shot relationship. It's a sense of equality.

It is as big a mistake to turn down a good shot as it is to take a bad one

I don't get tripped up in technology. I use technology as a tool. 'Oldboy' we shot Two Pro 35mm. For 'Da Blood of Jesus,' we shot digitally. We shot the new Sony F55. It's a 4K camera.

I was a big shot in high school - big into social events and at the dramatic society - and I always had trouble in school. Not because I was a dummy, but I was always busy being the Jackson Heights clown.

After college, I really looked at every single shot that I shot. Pretty much every shot in my sophomore year and my junior year and just watched my form. I watched how I shot it from 3, and I just noticed I was a very undisciplined shooter.

If you're playing a shot and your peripheral vision picks up a player moving as you play the shot, if your vision goes from the object ball to what they're doing, you can miss the shot by several inches.

The major difference between the big shot and the little shot is the big shot is just a little shot who kept on shooting.

Anybody that shoots a hook shot, whatever hand, I jump up and cheer because it's the easiest shot, it's the best tweener shot.

When I got shot I wasn't like 'yes' I got shot, now I can say that in my raps, when I got shot I said 'ouch'.

I'm very interested in clans and the way people group together, and there's a lot of group shots. There's a lot of people in positions that people feel like they're in attack mode, kind of pointed at each other in the frame. 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.

By the time I got to 'St Vincent,' I had shot so many scenarios I was ready for anything - I've shot kangaroos, I've shot dogs, cats, crowds, fight scenes, stunts, comedy, drama, handheld, dolly, helicopter, crane - I just felt that there was nothing I was unprepared for.