Top 1200 Shot Quotes & Sayings

I think CGI is interesting but it's too expensive and limiting in terms of what you can do shot-by-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.

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.

The success of an archery shot may bring food to the hunter's starving family, or may constitute a horrible murder. But these outcomes are irrelevant to the assessment of that shot as a hunter-archery shot, as an attempt to hit prey without running excessive risk of failure.

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'.

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 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.

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.

Where we shot in India, you could literally dump the camera off the back of the truck and you'd have an amazing shot.

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.

It was quite a shot in the head to do the album and then have it shot down by nonmusical idiots

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.

The difference between a good shot and bad shot can be an inch to the left.

I did do an American pilot, but it wasnt shot in America, it was shot in South Africa. It was called The Philanthropist, and it was for NBC.

Get the kids to understand that they shouldn't worry about who makes the shot, only whether or not the shot is made

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.'

A great shot is when you pull it off. A smart shot is when you don't have the guts to try it.

Live a "Why not?" life, man. Take the shot. The shot is always worth taking.

To me I just, I'm a geek when it comes to cinematographers . And when it comes to Robert and when it comes to someone like Roger Deakins who shot Prisoners and he shot Jarhead.

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.

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.

I have got to stay aggressive. When I have a shot, I have to take that shot.

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.

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.

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.

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.

I think CGI is interesting, but it's too expensive and limiting in terms of what you can do shot-by-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.

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.

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

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.

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

Don't let the difficulty of actually achieving a shot make you think that the shot is good.

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.

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.

When I lived in Louisiana, 'Django Unchained' was shot at my neighbor's house. They shot a Sly Stallone movie in my gym.

I typically come into any project knowing what the opening shot is and what the end shot is.

It was quite a shot in the head to do the album and then have it shot down by nonmusical idiots.

A shot that goes in the cup is pure luck, but a shot to within two feet of the flag is skill.

I live in a neighborhood so bad that you can get shot while getting shot.

I'm not a star, man. If a guy came in here and shot you and shot me, we'd both be two dead people. You understand?

I'm the kind of person who if I was playing the role of someone who got shot, I'd probably want to get shot so I knew what it felt like.

There's only one shot you have at a movie, and that's your best shot. If you can't give it that, don't go. They're paying you! You gotta do a job for them.

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

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.

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.

Sometimes I feel like I have a good shot, and then I see somebody that has a better shot.

I've shot films in Africa. I've shot in America - English is not my language.

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.

The first video I shot for "A Zip and a Double Cup"â€"I have two versions, a remix video and a the originalâ€"because I wasn’t really trying to do anything. I just came home and got kind of high and shot a video in the parking lot. I just shot the video how I wanted to do it and posted it online and the next day it went crazy.

The only difference between a good shot and a bad shot is if it goes in or not.

Some day we're gonna have interactive television where you can pick the shot that you want. You can watch defense, or you can watch the end-zone shot, or you can watch an isolated shot of Terance Mathis or whoever you want to. Because right now, the only thing that you watch is what the producer or director decides to show you.

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.

When we shot the first series of Aerobic Striptease, we shot five DVD's, so we slowly put out each DVD and timed it out that they were all done and shot and ready to go. We just started shooting the next series once we felt it was time to work on the next one.

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 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.

The video for 'Ride the Wind,' we shot that in Detroit. We shot it at Joe Louis Arena two nights in a row.

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.

Why is it that if you hit a shot to within a tenth of an inch of the hole, it's a great shot, but if it goes in, it's luck?