Top 1200 Long Shot Quotes & Sayings

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.

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.

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 a normal movie, the director controls what you look at. The shots don't last very long because you're getting the audience to look at specific things. An IMAX shot, on the other hand, can be twenty or thirty seconds long.

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.

L.A. is a long shot city, and those who make that shot - you can tell. You can see very clearly who's made it and who hasn't.

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.

If I can do a scene in one shot, it's in one shot. Most of my shots are pretty long. I think with 'Looking,' what we have in the first minute is a whole episode of a traditional TV show. I like to let things breathe; I like to let things have a certain tone.

I know what a long shot race is like, and I'm willing to put the work in.

With movies, it always feels like such a long shot getting it made.

Tragedy is a close-up; comedy, a long shot.

It's a miss and make league. As long as you have that confidence to take that last shot, knowing - I'm pretty sure you can't go home and sleep at night knowing you had the opportunity to take that shot and you shied away from it.

'Dark Knight' shot in London and Chicago, and we were on that for so long.

It's been a part of my game for life. It's tougher to finish in the lane so you've got to find different areas to score efficiently and the mid-range contested shot is a shot a lot of teams will live with. And it's a shot I'm willing to live with as well just because I've gotten so many shots at it and I'm comfortable with it.

Nobody has shot a strip club in black and white in a long time.

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

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

My dad moved to London in his early 20s and didn't really go back. So the irony is I've spent lots and lots of time in Ireland, but not with my dad. I've shot films in Belfast, where he's from. And I've shot in Dun Laoghaire. Which is great. And I've shot in Dublin.

God has to remind us this isn't heaven by a long shot, so he increases the radios and lethal flies.

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."

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.

The President has a quick and able mind, though not everybody gives him that, not by a long shot.

In my view there is a level of human knowledge that involves just getting it right aptly. This "animal" epistemic level is an inferior level in just the way of Diana's long shot in the dark while drunk. That shot is inferior in a certain respect if too poorly selected as a hunter's archery shot, even if not quite as poorly selected as would be a shot aimed at the moon. Even if Diana's too risky shot turns out to be apt by attaining success through sublime archery dexterity, it is still inferior in the particular respect of being so risky and hence so poorly selected.

Forget the last shot. It takes so long to accept that you can't always replicate your swing. The only thing you can control is your attitude toward the next shot.

I just love the hours of the theatre, I love the way it operates. I always say that when you're doing a play it's like getting a shot of B12, and when you do television for a long series you need a shot of B12.

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.

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.'

I think you can make a gorgeous movie on any piece of equipment. Look at 'Tangerine,' which is a beautiful movie shot on an iPhone. You see so many movies that are impeccably shot but are vapid, and there's no audience for that except for other cinematographers who just like to watch two-hour-long music videos.

My new long anhyzer disc and controlled fairway driver. It gets the same beautiful flippy hyzer S shot as my Surge, I just don't have to throw it as hard. This makes it the most valuable to me on uncertain terrain where my footwork is compromised. A stand-still driver shot is now no longer a problem.

no war really comes unexpectedly. The drums are beating long before a single shot is fired.

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.

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.

No question that 'Birdman' is a breathtaking technical achievement, not a stunt. Shot in 30 days after a long rehearsal period, with the actors' and the camera's movements calibrated to the inch and the millisecond so the action flows smoothly, the picture has the jagged energy of a long guerrilla raid choreographed by Bob Fosse.

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.

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.

When you get to the tee on a really long par 5, I know what you're feeling. You want to let the shaft out on the driver and try to bomb it down there. I get the same feeling. But a big tee shot is not always the best strategy, especially on a long hole.

Immortality is a long shot, I admit. But somebody has to be first.

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'.

Life is a tragedy when seen in close-up, but a comedy in long-shot.

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.

John Paul to give me a shot, I'll never forget as long as I live.

This is just a long shot, but I definitely would want to work with Frank Ocean. He's the man.

I'm not a perfectionist by a long shot, but self-doubt is a large part of my creative process.

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.

Get a shot off fast. This upsets him long enough to let you make your second shot perfect.

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.

I thought I was going to be a ballet dancer for awhile there. I had a good teacher at Interlochen, this arts' academy in Michigan, who taught me the importance of storytelling, and I really responded to that. It seemed like a long shot, but I always play the long odds.

I'd like [Santa Claus] to give Wes Anderson, the director, enough money in his next budget for an aerial shot - just a little copter shot. He really wanted this one helicopter shot, and Disney wouldn't give him the money. Just wouldn't give him the money. Every day, he was talking to the studio about this helicopter shot.

Are you placing enough interesting, freakish, long shot, weirdo bets?

Nothing wrong with people getting shot, as long as it's the right people getting shot.

Nothing wrong with shooting...as long as the right people get shot.

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.

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 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.

And when I say [M2 was] lo-fi production, it was so great and grimy. I was used to that world anyway, because we shot in bars, we shot in thrift shops, we shot on the street. And the bars, they would have just opened, and still there was barf on the floor and beer. We certainly kept it real. It was a small crew.

When you cut from a long shot to a close shot, you're doing it for a reason, or if you let something stay in long shot for a long take. On the short films, I was teaching myself how to express something personal cinematically, how to use the language of film the best I could.

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.

You need passion and commitment in your sport or else you will never survive that long. Of course you also have to give it your best shot and be responsible for your own behaviour both on and off the field before you can fully enjoy the game for such a long period of time.

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.

I did not cause the downfall of Jim Crockett Promotions. Not by a long shot.