Top 1200 Long Shot Quotes & Sayings - Page 7

A few years ago, for my birthday, Sean Price Williams said, "I'll give you one free day of shooting." He shot Kati with an I and co-shot Fake It So Real. While we've always worked together, I didn't want him to do it for free, so he cashed in his birthday chip and came for this one day.

The season is long. You go through aches and pains with your brothers. When it's on the line, you just want to give them - you know, you want to perform. You want to give them a shot to win the game.

whether they'll write the story of my life as a tragedy or an epic fantasy... I was wondering if it was going to be a kiss at the end, or sad music and a sweeping camera shot over the fields I once roamed freely. I'm hoping for the kiss, but expecting the sweeping camera shot.

Some fast food places, they have that ketchup pump. It's like a keg. They give you the paper shot glass. I always like to hang around there, try and meet the ladies. "Here, I'll pump for you. You come to this Wendy's often? My roommate and I, we got a pony pump back at my dorm. Here's an extra shot "

Sometimes I screw up in the game, I miss a shot or I miss a rebound, and I fight myself. I am like, 'Why I miss that shot? Come on, what are you doing?' I am fighting myself.

It's definitely particular to each situation, but whether it is a long history or someone that you're intimidated by or someone that you didn't think you ever had a shot at, at the end of the day, I think we're all living through high school, every day.

As long as there are human rights to be defended; as long as there are great interests to be guarded; as long as the welfare of nations is a matter for discussion, so long will public speaking have its place.

I'm a filmmaker, but my working procedures are different. All my basic structuring is done during the filming. You know, how long I keep the shot, the exposure or the speed - slower or faster, etc. That's structuring. And then there is a second stage of structuring that comes later when I begin to put those pieces together.

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.

'Spider-Man' was the best time of my life. I was there with my best friend. We shot in Atlanta. We shot every day and just had an absolute blast. 'Avengers' was crazy because you're on set every day with actors I never dreamed I would work with. I'm as much a fan as anyone else.

My brother acquired his first gun when he was very young, from a recently-fled drug dealer's residence. Now, he lived in a rural orange-grove area, and he shot at coyotes who killed his animals and at drug runners who used the groves for transport. Sometimes he joked that he only shot what moved.

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.

The only equivalent plunge from genius I could think of was Ernest Hemmingway's tragic loss of ability to write. Hemmingway got up one morning and shot himself. Nicklaus got up the next morning and shot 66.

When I read War and Peace in Norway, really far away from humanity for a long time, it was such an amazing, affirming blast of "humanity" in all forms. It totally cracked my mind-nut open and rainbows shot out. I loved humanity and being alive, rather than wanting to bury my head in the snow.

I mean, I've done college basketball, a horse race, a bunch of different things and they'd blow by but golf has a frenetic pace of bouncing around from shot to shot and green to green and, in essence, acre to acre over this huge plot of land with over 150 players who are their own team.

I get upset over a bad shot just like anyone else. But it's silly to let the game get to you. When I miss a shot I just think what a beautiful day it is. And what pure fresh air I'm breathing. Then I take a deep breath. I have to do that. That's what gives me the strength to break the club.

I can honestly say in my entire career, I've never gone around a golf course and not mis-hit a shot, but today I never missed a shot. I hit every driver perfect, every iron perfect. I'm in awe of myself.

The human brain long ago evolved a mechanism for rewarding us when we encountered new information: a little shot of dopamine in the brain each time we learned something new. Across evolutionary history, compulsively seeking information was adaptive behavior.

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.

I try to respect the rules of the silent movies and I tried to make signification to make sense, and also the crew were very good and the fact that we shot in LA in the real Hollywood, studios and houses. We shot in the bed of Mary Pickford, and you cannot be any more accurate than that, so that helped a lot.

I don't play golf for money. I play golf to execute that shot, the beautiful shot that everybody adores. That's why I think we all play golf.

God doesn't love me any more or less because I had some work done on my face. You know, I prayed about it a long, long, long, long, long time, because there again, I wouldn't want to do anything that I felt was going to be offensive to God.

When I was in Hungary in December I was looking at student films and I could not tell which ones were shot on film and which ones were shot digitally. I think that is because the filmmakers in Europe go to four years of film school and learn the techniques.

The first time I came to the Comedy Festival some nutcase shot a bunch of people in Tasmania. I thought, 'Oh, that's just Tasmania.' The second time I came, some nut shot up Columbine High School. Now I'm here again, and another nut just shot up a high school in Minnesota. If you can't see the connection between me playing the Comedy Festival and mass murder, you're no good at conspiracy theories.

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?

Despite explaining that it's just a mechanical process, my husband, Sanjay, would initially ask whether an intimate shot was very necessary. I invited him over to the sets when I shot those scenes, but he never came over. I admit that there have been fights over this issue too.

I've had the pleasure of working in the U.K. a few times before. I've shot a few movies there before. One of them was Neil Simon's 'London Suite,' which was based on his play. I also shot a film in Dublin, a little film with Bernadette Peters, called 'Bobbie's Girl.'

I shot for French and British Vogue. The British Vogue one featured clothes by Chloe and was shot at Highgate and the John Soane Museum. It came out much better in my opinion. I only did one day and was working with my own make-up and hair people and a model who I've known for years.

There are many things that have stayed consistent. But the biggest change, of course, is technology, the way it's used, the way films are shot, the format that they're shot in, and the way films, of course, are edited. It's very different than it was in the past.

If you're dumb enough to volunteer for the army, I don't see why we're supposed to feel so bad when you get shot. I'm not saying we should throw a party or anything, but is it such a tragedy? If I'd gotten shot before I made 'Garden State', yeah, that's a tragedy, but some red-state hick getting his legs blown off? Come on.

It's interesting to work with Emma [Watson] so quickly after Harry Potter. When we shot this movie, it wasn't that long after Harry Potter was finished, and it's knowing that's a big transition in her life. She's a very talented young woman.

The long takes process doesn't allow for that many takes. In the past I have shot over 50 takes of different shots. Sometimes you end up using take 64, sometimes take four.

Reading what a good shot is, based on time and score of the game, based on the shot clock, based on my position - there's a lot of things that go into it. It's a lot of things that you think about based on when to shoot it or when not to.

Awesome! I'd just bullied Jesus into doing a shot with me. Nobody would ever believe it, but I didn't care. We ordered the insanely expensive stuff, seventy-five dollars for a 1.75-ounce pour of premium Irish whiskey, because if you're doing a shot with Jesus, you don't buy him scotch.

I hear about people getting shot all the time. But most of the guys you hear about getting shot pulled through.

Shirley's gonna be pissed," Gazarra said. "She hates when I get shot." To my recollection, the only other time Gazarra was shot was when he was playing quick draw in the police station elevator and his gun accidentally discharged. The bullet ricocheted off the elevator wall and lodged in Gazarra's right buttock.

Saturday The 14th movie is a cult classic. And you know another one like that that I did, is Three O'Clock High. People come up to me about those two all the time. Film schools even study Three O'Clock High. Shot for shot, it's a textbook.

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 think most amateurs dread playing a 180-plus-yard par 3 even more than a hard par 4. Part of it is psychological: You think you should be getting a breather, distance-wise, and instead, you get hit with a long iron or hybrid shot over trouble.

Most of my images have been done in-studio, under very controlled lighting conditions. There have been a few that have shot in nature, but even then they were shot almost exclusively at night, and again, under controlled lighting conditions.

People think that jumping or do trick shot is gifted. Yes, it's gifted but is a lot of work. I won't say I work on the trick shot, but it's like I think physically I'm one of the best.

My own view of myself was that I was small and innocuous, a marshmallow compared to the others. I was a poor shot with a 22, for instance, and not very good with an ax. It took me a long time to figure out that the youngest in a family of dragons is still a dragon from the point of view of those who find dragons alarming.

I think the violence is important. It all depends on the genre. Rambo was ultra-violent, and I think it worked. You have to give Stallone credit. You have to respect him for taking that shot, and taking the violence all the way. He was the first one to do that in a long time. It fricking worked.

It's definitely particular to each situation, but whether it is a long history, or someone that you're intimidated by, or someone that you didn't think you ever had a shot at, at the end of the day, I think we're all living through high school, every day.

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.

Think of golf as chess. You have to think two or three moves ahead every time you hit the ball. Over every shot, you should be thinking, 'Where do I need to put this ball in order to make my next shot as easy as possible.

That "I don't give a darn" attitude is probably why I've shot so many good final rounds over the years when I started the day a few shots behind with nothing to lose. . . and maybe that's why I've shot so many bad last rounds when I was ahead and knew I couldn't afford a mistake.

The idea is not to block every shot. The idea is to make your opponent believe that you might block every shot.

If our planes were shot down, yes, they's wake me right away. If the other fellows' were shot down, why wake me up?

If we can figure out how to give more Americans a shot in tech, a shot at the ordinary jobs that don't necessarily afford rock star status or come with generous stock options but that can sustain middle-class life, then we might just take a step toward stitching our nation back together.

I am not a good shot. Few of us are. To make up for this I hold my fire until I have a shot of less than 20 degrees deflection and until I'm within 300 yards. Good discipline on this score can make up for a great deal.

The subject matter itself lends itself to the black side because the kids are drug dealers and kids that are getting shot by police and getting shot by themselves. People automatically associate that with blackness because of the news.

There are guys who want to shoot the last shot and others who want to pass off. I want that last shot.

I watched my beautiful sister running . . . and I knew she was not running away from me or toward me. Like someone who has survived a gut-shot, the wound had been closing, closing - braiding into a scar for eight long years.

You try to figure out the best way to throw the shot put, or the perfect way to long jump, and you don't ever get it. You just chip away, chip away, chip away as time goes on.

Usually after a shot, we look for a chair to rest our feet. In 'Oopiri,' it was the other way around. After every shot, I was on my feet, walking around the set trying to get the blood circulation in my legs working properly.

In uniform, I had to make judgments about the best course of action in combat when the only choices were 'bad' or 'worse.' As a member of the media, I only had to decide how to get the best 'shot' - preferably without getting shot.

I recently discovered the work of Giorgio Manganelli, who wrote a collection called 'Centuria,' which contains 100 stories, each of them about a page long. They're somewhat surreal and extremely dense, at once fierce and purifying, the equivalent of a shot of grappa. I find it helpful to read one before sitting down to write.

Even before 'Moon,' I did a short film called 'Whistle,' and it had a lot of the things that I thought I would need to be able to do on a feature film: I shot on location, there was special FX work, there was stunt work, we used squibs, I shot on 35 mm film.

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.'