Top 1200 Shooting Range Quotes & Sayings - Page 4

I always prefer the character moments. For me, personally, whether I'm shooting the gun or not shooting the gun, I really don't care. I'm the guy who's like, "Whatever you want me to do." But, I really get excited about the character moments that are steeped in emotion when the stakes are high.

As an actor, some of the most fun days I've had on set have involved shooting blanks all day - or better yet, on a micro-budget indie shoot in Texas, shooting live ammo. I feel guilty admitting this, but make-believe beating a man half to death for nine hours can also be strangely satisfying and, dare I say, good fun.

When you're casting a movie and when you're shooting a film, the eyes are the most important feature of any performer, really. Any great actor literally knows exactly how to use their eyes, and even as a filmmaker I love shooting huge close-ups because it's those eyes that mean so much to me.

Range after range of mountains. Year after year after year. I am still in love.

Doing a sitcom is like doing a play - you rehearse for three or four days, and then you shoot what you rehearsed on Friday night in front of an audience. An hour-long drama is like shooting a movie. You're shooting 13-14 hour days. The endurance itself is different.

I loved shooting 'iGo to Japan' because we got to be outside a lot, and our call times were really late because we had so many night scenes. It was pouring rain, so the cast would huddle together in between takes and drink hot chocolate. Shooting that episode was such a great bonding experience.

You never have any idea where your movie's going to go when you're shooting - you're in this little bubble. Everything you care about is getting the next step right: getting the script right, finding the right actors, shooting it. Then you spend half a year in a dark room editing your film, and you don't talk to anybody.

I look at Thich Nhat Hanh and I look at Marshall Rosenberg, and they're more concerned about the long range. And that long range means that you have to sit down with people who don't think like you. I want to reach people who don't think like me.

I've only ever played 'God of War' while we were shooting it. I've seen a lot of the videos, but while we were shooting 'God of War,' they had a green room for the actors to hang out in, and they always had the newest game on the big screen. So we'd sit there playing 'God of War' to get us into the mood.

The manager administers; the leader innovates. The manager has a short-range view; the leader has a long-range perspective. The manager asks how and when; the leader asks what and why. The manager has his eye on the bottom line; the leader has his eye on the horizon. The manager accepts the status quo; the leader challenges it.

The most difficult thing about shooting guns instantly on film is to not pull a silly face while the gun is going off, because it's always a bit of a shock. So you find yourself sticking your tongue out or blinking or whatever. So the hardest thing is to keep a straight face while you're shooting a gun.

When I pull my white Range Rover into disabled parking bays, the abuse that I get until I actually get out on my crutches is phenomenal, because people presume that you couldn't possibly be disabled and reverse a white Range Rover into that parking space.

If you make a film, that magic is not there, because you were there while shooting it. After writing a film and shooting it and being in the editing room every day, you can never see it clearly. I think other people's perception of your film is more valid than your own, because they have that ability to see it for the first time.

They're trying to kill me," Yossarian told him calmly. No one's trying to kill you," Clevinger cried. Then why are they shooting at me?" Yossarian asked. They're shooting at everyone," Clevinger answered. "They're trying to kill everyone." And what difference does that make?

Whenever you take a subject you're obsessed with or that haunts you, and make a movie about it, you're converting it into work units that need to be completed. You gotta turn it into a treatment, a script, a grant application, a bunch of forms to be filled out, a shooting schedule, casting sessions, auditions, shooting, editing, music compositions, the film festival circuit, interviews even. And by the time you've finished the process you're so sick and tired by something that was once very precious to you that you're done with it.

Sam Jackson is a director's dream. Some actors hope to find their character during shooting. He knows his character before shooting. Sam's old-school. I just got out of his way. I never did more than two takes with Sam.-william friedkin

The Huffington Post Investigative Fund's goal is to produce a broad range of investigative journalism created by both staff reporters and freelance writers, with a focus on working with the many experienced reporters and writers impacted by the economic contraction. The pieces will range from long-form investigations to short breaking news stories and will be presented in a variety of media - including text, audio, and video.

When an archer is shooting for nothing, he has all his skill. If he shoots for a brass buckle, he is already nervous. If he shoots for a prize of gold, he goes blind or sees two targets - He is out of his mind! His skill has not changed. But the prize divides him. He cares. He thinks more of winning than of shooting- And the need to win drains him of power.

There are some filmmakers like the Coen brothers that are very precise. They make shooting boards, they do it shot by shot, and they follow every single line in their own script. They make amazing movies, and I admire them so much, but I can't do that. I have no idea how the movie will exactly be. While shooting, I just try to create an accident that I don't control very well - grabbing things from different sources and ideas, and then having a sensation somewhere that it will make sense.

Nothing prepares you for shooting in the sea. Some days the sea is choppy, some days the waves are long. When there is no wind, it's fantastic to shoot, but your brain is burning because of the heat. You are shooting hand-held and taking a crane on a boat, which is risky since you can get toppled over.

We are apt to think we know what time is because we can measure it, but no sooner do we reflect upon it than that illusion goes. So it appears that the range of the measureable is not the range of the knowable. There are things we can measure, like time, but yet our minds do not grasp their meaning. There are things we cannot measure, like happiness or pain, and yet their meaning is perfectly clear to us.

From close range the free-kick is taken with inside of the foot. I will take a run-up of two or three steps and take the kick with the inside of the foot and the ball will travel in a straight line towards the goal. If it is a long-range free-kick, then I will use the outside of my foot. The ball will turn in the air and head towards the goal.

We've made two products; one is a 155 mm 52-calibre gun with self-propelling and towing capability. This is a field gun - the mainstay of the Indian army like the Bofors guns. Our gun is similar but of a longer range. That was 39 calibre; this is 52. The calibre denotes the length of the barrel and the range.

When Jordan was averaging over 30 and shooting over 50 percent, he was doing it with less shooting on the floor for himself. He had less spacing to work with. He was going against defenses that were allowed a lot more liberties as far as physical contact, how hard they fouled, and all those things.

Obviously, this is our first album [Begin], so this is our first big body of work that's out there in the world and it really represents our journey, from where we started to now and all the music we created, our range, and all the things that we definitely shared, but weren't able to show our range on a full-scale until this album.

Last week I was in London at an awards show, then I flew home and was in an RV park with my wife and kids in our motorhome, this week I'm in NY doing a charity event, and tomorrow I'll be coaching my daughters soccer practice. I guess the range of roles I play on film stem from the range of roles I play in real life.

I rarely feel the desire to reread a scene the day before the shooting. Sometimes I arrive at the place where the work is to be done and I do not even know what I am going to shoot. This is the system I prefer: to arrive at the moment when shooting is about to begin, absolutely unprepared, virgin. I often ask to be left alone on the spot for fifteen minutes or half an hour and I let my thoughts wander freely.

There is a broad range of reaction to the work, as there is a broad range of work I make.

I don't have a 10-octave range. No human being has a 10-octave range.

Quality doesn't mean deep blacks and whatever tonal range. That's not quality, that's a kind of quality. The pictures of Robert Frank might strike someone as being sloppy-the tone range isn't right and things like that-but they're far superior to the pictures of Ansel Adams with regard to quality, because the quality of Ansel Adams, if I may say so, is essentially the quality of a postcard. But the quality of Robert Frank is a quality that has something to do with what he's doing, what his mind is. It's not balancing out the sky to the sand and so forth. It's got to do with intention.

I didn't so much think I needed to address the shooting need. What we needed was somebody who could come in and play the two-three (shooting guard-small forward) spot. If he could've been a pure shooter, great. But if not, we still needed somebody to give us minutes there. I like the guys we've got.

Certainly, I look for different characters 'cause I always like to keep people guessing, and I also don't like to get typecast. I made a concerted effort, last year and this year, to get a range of characters, just to show people the range that I have, and for them to be able to see the artistry beyond the color.

The only real difference between shooting 'Firefly' and 'Serenity' was that on 'Serenity,' we had a lot more freedom with time. When you're shooting a television show, you usually have anywhere between six and nine pages of script to shoot a day, and only twelve hours to do it. But with 'Serenity,' we could shoot one scene all day long.

I think that you're very aware that you're shooting a 3D film for a movie that's beloved to the fan community, and that it's going to be on people's radar, and that you have to be excellent. I think it evolved over time how epic it has become. The first time we went to Comic-Con after we finished shooting I went, "oh my goodness, oh my goodness!"

'True Blood' is shot on film. It's more like a movie, and they take more days to shoot it, plus it has an hour of content. 'The Good Wife' is network. They're shooting on HD. It moves quicker and they only have forty minutes of content instead of a full hour. Not to mention the difference of shooting, you know, rated-R stuff!

Alfred Hitchcock talked about planning out his movies so meticulously that when he was actually shooting and editing, it was the most boring thing in the world. But drawing comics isn't like shooting a movie. You can shoot a movie in a few days and be done with it, but drawing a comic takes years and years... That's the biggest part of doing comics: You have to create stuff that makes you want to get out of bed every morning and get to work.

Most people have already seen a cosmic collision. If you've seen a shooting star ever, you've seen a cosmic collision, because a shooting star is not a star. It's a tiny dust or pea sized fragment of an asteroid or a comet hitting our atmosphere and burning up as it hits in, as it comes in.

I don't think fast enough on my feet in terms of the writing to change the script too much when I'm shooting it. I like to have it set and done and know that I feel good about it and I might add a few lines here and there while we're shooting, if I think of a new joke, I might toss it in, but for the most part, I try to stick to the written script and have all the latitude exist within that.

If your shot is broke, you at least want to shoot it comfortably. You want to be comfortable shooting a broke shot. You don't want to be uncomfortable shooting a broke shot.

Eventually, I think, by using such elements as flocks of birds or biblical quotes, repeatedly I add meaning to my final product. I'm still exploring how to express my feelings through these elements. I've always felt that in order to portray humans, you should not be shooting humans; you should be shooting something else. And what I've used is animals, which are very important in my films.

By now, the corporations that dominate our media, like alcoholic fat cats, treat this situation as theirs by right... Their concept of a diversity of views is the full range of politics and social values from center to far right. The American audience, having been exposed to a narrowing range of ideas over the decades, often assumes that what they see and hear in the major media is all there is. It is no way to maintain a lively marketplace of ideas, which is to say it is no way to maintain a democracy.

I really lucked out with that song ["As Cool As I Am"]. Men were becoming much more comfortable with all the different facets and parts of their identity, including their gentler, funnier, sillier, nurturing parts. They started showing up. There was so much exploration of gender at that time. Women were showing up with the range of ways of being female in the world and men were showing up with the range of being male in the world.

The short-range involves the long-range. Immediate steps have to be taken to reeducate our people into the, a more real view of political, economic, and social conditions in this country, and our ability in, in a self- improvement program to gain control politically over every community in which we predominate, and also over the economy of that same community as here in Harlem. Instead of all the stores in Harlem being owned by white people, they should be owned and operated by black people.

The rules of engagement are so lax that soldiers are shooting and killing Iraqis under mere suspicion, and tragedies are everyday. There are road killings, killings on the road when someone is trying to pass a convoy and they get shot. Or if a roadside bomb goes off, the soldiers just start shooting in all directions.

I learn my lines in a few different ways. A lot of my dialogue sticks with me in a general sort of way when I read the entire script for the first or second time. Then, when I get the shooting schedule, I have a better idea of what scenes are shooting when. I then will focus on those that are coming up first.

I like to consider myself a star - a star, that when you look in the sky, it's always there. And on a clear night... a shooting star comes by, and get a little thrill, and you make a little wish. You need both types of stars, the shooting and the constant stars. The heavens include them all.

If we are to achieve long-range goals, we must learn to set up and accomplish short-range goals that will move us along the way. If we do not consciously select our goals, we may be controlled by goals not of our own choosing - goals imposed by outside pressures (such as the expectations of others) or by our habits (such as procrastination) or by our desire for the approval of the world.

There's not much of a difference shooting something for TV and shooting something for film; the difference is film is in a cinema and TV is in your home.

I think that the whole voyeuristic attitude of filmmakers or of me personally - of shooting documentaries and so forth - is an important issue. And it was an important issue to me, personally. And the whole question of when - when do you put the camera down or when do you keep shooting to get the shot. And a number of times in my life I've had that question hit me very hard.

In golf, you keep trying to score well when you're ahead. In basketball, they don't quit shooting when they're ahead. In hockey, they don't quit shooting the puck when they're ahead. And in boxing, you don't quit punching when you're ahead. But in football, somehow magically, you're supposed to quit playing when you're ahead.

There were a couple of times, leading up to shooting [Ordinary World], where I was like, "Oh, my god, what did I get myself into? Hopefully, I don't ruin this guy's precious script." And then, after a couple of days of shooting, I started getting in the groove of it and it was really fun. I love being a rookie at stuff. It makes it feel vital. I love doing things I've never done before, and I love making stuff.

I also have a brand-new prescription for gunfire jitters: When the shooting gets loud, proceed to the nearest wooden staircase. Run up and down a few times, making sure to stumble at least once. What with the scratches and the noise of running and falling, you won't even be able to hear the shooting, much less worry about it. Yours truly has put this magic formula to use, with great success!

While directing in theater that the actors will - I don't know if it's competitiveness or what it is, but they love to make each other laugh. They love to impress each other in rehearsal. They'll try something for a reaction. But in film, you're very often not all together in the room at the same time. You're shooting one day, somebody else is shooting the next. It's a totally different dynamic.

What's important in a cellar is having wines that have a broad range of drinkability, which California Cabernet does. Wines with a broad range of drinkability give you a lot of flexibility; they are the sort of wines that make me feel secure. I think of my wine cellar as security - if the apocalypse comes, I can just go down to the cellar.

I wrote the plot [for the Persepolis ]and Vincent [Paronnaud] and I wrote and discussed the shooting of the script. Vincent then took care of the production design, the actual shooting, and what was going on within each scene. It's very difficult, though, to draw a line between who did what. Because Vincent would say something, and I would add something, and at the end you have this film, yet no clear idea of who did what.

For the last 10 years, I've felt increasing pressure to stop shooting film and start shooting video, but I've never understood why. It's cheaper to work on film, it's far better looking, it's the technology that's been known and understood for a hundred years, and it's extremely reliable.

Ninety-five percent of the eggs produced in America come from factory-farmed birds. Even if free-range farms were hugely more humane, the sheer number of animals raised to satisfy people's desire for eggs, meat, and milk makes it impossible for us to raise them all on small, free-range farms.

I think I actually made a very kind gesture out of nowhere; I decided in the middle of that match that for every ace I hit I want to donate money. I just think people should honestly look at themselves before they judge another person. I've never been spoiled. I want a Range Rover very bad, but I refuse to spend the money to buy a Range...The diamonds are borrowed. I won't buy them because I'm too cheap.

You can't have a relationship when you're shooting a 14-hour day and your husband is shooting a 14-hour day in the same city. It's a time thing and it's a together thing.

Ever since the beginning of modern science, the best minds have recognized that "the range of acknowledged ignorance will grow with the advance of science." Unfortunately, the popular effect of this scientific advance has been a belief, seemingly shared by many scientists, that the range of our ignorance is steadily diminishing and that we can therefore aim at more comprehensive and deliberate control of all human activities. It is for this reason that those intoxicated by the advance of knowledge so often become the enemies of freedom.