Top 1200 Shots Quotes & Sayings - Page 16

The man at Kodak told me the shots were very good and if I kept it up, they would give me an exhibition. Later, Kodak gave me my first exhibition.

And I guess, I guess it's a humanist film. It's not really a spiritual film and it's, you know, it's saying that we're all one tribe of humans and we're on this little rock, floating through the universe and (Amenabar) has these (transitional shots of) POVs where you see humans like ants.

Some directors are really strong on action, manhandling you around the set; others are very focused on setting up the camera shots and practically ignore you. You have to get used to introverts, extroverts, directors who clown around for the crew, and the odd one who's monosyllabic.

I've had a different kind of career on the periphery of show business. I've never been on any kind of corporate timetable whereby every six months I have to pop out a record like a pulping mill. I've called my own shots. When I get tired, I take time off.

I just - I kind of see it that way. I find the higher angles down. I do - look, you can go back to the staircase shots in "Third Man" or the staircase in "La Dolce Vita." So I just find that visual construction in a frame.

It's the little things. That's kind of what I bring to the table in terms of doing things that might not show up in the box score. Diving for a loose ball, or switching out on a guard and getting that big stop, cutting someone's water off if they've made a couple shots.

Maybe it goes without saying that if you want to become a famous writer before you’re dead, you’ll have to write something. But the folks in my classes with the biggest ideas and the best publicity shots ready to grace the back covers of their best-selling novels are also usually the ones who aren’t holding any paper.

On slower days, when I was only needed for coverage or reaction shots, the set of 'The Newsroom' was better than therapy. Chris Chalk and I would debate life's dilemmas... until Sam Waterston would chime in and set us both straight.

When you first come to practice, you learn the guys. You're going to play with them for the next couple seasons. You just need to know what shots they like, how they run, how good a lead they are. You need to know your personnel.

I think it affected me physically and emotionally, yes. I did have my ups and downs, but I actually had more ups and downs after the shots were finished and she was pregnant because of the reality of being pregnant with twins.

I finished Edson Barboza in a d'arce choke. What else do you want? He's very hard to take down. Spinning heel kicks, spinning kicks. I took some of his most powerful shots and I just kept coming forward. I'm the Boogeyman out there.

I think people just see cinematography as being about photography and innovative shots and beautiful lighting. We all want our movies to look great visually, to be beguiling and enticing, but I think that what really defines a great cinematographer is one who loves story.

The 'Agent X' set was never boring. During the first few days, I had to adjust to the loud noise on set, which included gun shots and explosions. After we finished filming the season, I realized I missed hearing all the noise and driving on empty freeways.

Well, you're in a theater and it's 24 shots a second, your face, your body, your voice, and it's your craft, the way you earn your living, and it's indelible. It's not like writing a script - I write as well - I can't do another draft, it's done.

If we want to win, we're not going to be able to go out on the court and say, 'My turn' or 'Your turn.' We're going to have to play together and sacrifice some shots, some ball touches, some minutes.

I've played such good golf, and it was hard coming up and it wasn't easy in any matches or any shots. It means a lot. I think hopefully it will mean a lot to New Zealand because I'm the next winner of the U.S. Amateur after Danny Lee.

I think I can help push the tempo just a little bit... I feel I can get the ball after a rebound. Push the fastbreak. Push the tempo. Get guys some easy shots.

They're professionals at this in Russia, so no matter how many Jell-O shots or Jager shooters you might have downed at college mixers, no matter how good a drinker you might think you are, don't forget that the Russians - any Russian - can drink you under the table.

I mean, defending isolations is easy, but it's hard at the same time. I think I'm a pretty good defender, but when you go against guys that can make tough shots, it makes you feel so bad, like, 'Oh, man, these guys just made a tough shot on me.'

When I got on tour in 2014, I was hitting a slice off the tee. No joke. Yeah, I had plenty of power, and I knew how to play the curve, but I was a tour player who was watching his tee shots peel 30, 40 yards to the right.

What is important is to have a positive intent right from the start, and positive intent doesn't always mean looking for the big shots. Positive intention when it comes to defending a ball or looking for a single.

Sometimes, in Silicon Valley, there is this attitude that we know best and we can change the world. The boldness allows us to invent the future. But, we need more empathy for those who are left behind and a recognition that Silicon Valley can't just call the shots and expect change.

When you've won a lot of matches you know how to play the important moment - you have a great feeling on court, confidence. You know what you have to do, when to go for the shots or when to play solid. It's really clear in your head, and you trust in your hands.

I'm a tennis fan, so I like Roger Federer. He's always two or three steps ahead, so he's hitting a shot, but he's also thinking about the next two shots. So I try to be in that frame of mind - to always be ahead.

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.

Sometimes, I'd take shots without aiming, just to see what happened. I'd rush into crowds - bang! bang! ... It must be close to what a fighter feels after jabbing and circling and getting hit, when suddenly there's an opening, and bang! Right on the button. It's a fantastic feeling.

I think he takes a good shot, I take a good shot too, but taking too many shots is not good for any fighter. And it's not really a reputation you want.

I've always enjoyed people studying themselves in the mirror, and I also enjoy those 'walk and feel bad' shots. I like anything that isolates people and focuses them on themselves, or makes us focus on their faces as they're going through something.

There are a lot more shots coming at the net and guys are just shooting it at the net because they have more time and pucks are going in off legs and feet and shoulders and heads, so you might have to play out a little further on the shot and hope it hits you.

It's got to feel good off the face, it's got to look good from on top of the ball. And then, obviously, it's got to perform. But in those iron testings, obviously, I'm just trying to hit the best shots I can.

And so not only do you have to make that work, you can't really start putting the thing together in any form because some of the shots are very short and obviously many of them take so long, you're waiting months and months and months before you can see if it's going to be working emotionally.

Ask yourself how many shots you would have saved if you always developed a strategy before you hit, always played within your capabilities, never lost you temper, and never got down on yourself.

You try to figure out the two things that I use as the philosophy to do a golf course. The first is that most people are really interested in something being aesthetically pleasing and good to the eye. The second is that a good golfer likes good golf shots.

The most exciting fight I have called on HBO was the first meeting between Arturo Gatti and Micky Ward. When I stood up to do the post-fight on camera, my stomach muscles were tight and sore from the tension of watching them take their lives into their hands and trade shots.

It gets very tiring when you are filming and then taken to a room to do school work. I never get any rest time. It is either work or school. Once you are an adult, you get to take a nap in between shots.

On the screen were some flashback shots of Daniel, Emma and Rupert from ten years ago. They were 12. I have also recently returned from New York, and while I was there, I saw Daniel singing and dancing (brilliantly) on Broadway. A lifetime seems to have passed in minutes.

He [Charlie Chaplin] was always playing as if it were to the camera, if you've seen the live shots of him when he's going to an opening night or something like that. And the skills that he had were beyond my ability to throw together. You just couldn't really compete with him. He was too athletic at that.

What people don't tell you is freedom comes with a lot of work! I'm definitely grateful for the freedom to call my own shots. However, you don't have the luxury of leaning on a squad of people to put stuff in motion. It's just you and your homeboys trying to figure it out. It gets challenging at times.

I've been in some seriously bad places playing golf and it's just part of the game. You're going to hit bad shots, you're going to be in bad spots, and each course, when you learn it, you learn where not to go.

From film to film, I realize my strengths and my weakness, and I realize how much better I get. I learn the lingo, I ask questions and I'm on set trying to figure out which shots they're going to use. For me, it's exploring the art. It's not just making a movie.

When you're young and you first come onto the scene, you're fearless. You just go for your shots and don't really think about the consequences. But as you play on through years and years, you get punished for those misses, and gradually, that leaves scars. It dents your confidence a bit.

I'm very impressed by films like' Whiplash' or what Fincher does, where you get all these different... Where you get all this coverage that's perfectly linked up. I actually find coverage very confusing. But I love sequencing shots because I know exactly where I am.

It's no secret that the environmental movement is ultimately designed to create new inroads into increased government control. All of the shots taken at emissions, the dependence on fossil fuels, and noise pollution are designed to paint those things as symptoms of a problem, with the government able to step in as the solution.

There are shots that I had to walk away from because we had to get the movie in the theaters. There are some in "Independence Day" and "Godzilla," but lately I got smart. I would plan it so I had enough time [to get it right]. That just comes with experience.

With chemical film, it was possible to alter photographs, but you had to be an expert. That's not true any more. The LA Times fired a photographer at the beginning of the Iraq War for editing two shots together. Photography is crumbling. Certainly it is for the newspapers a bit now, isn't it? There will be painting again, absolutely!

I spend a lot of time in the gym working on moves, working on difficult shots, figuring out ways to create space, becoming a tough-shot taker and a tough shot maker, especially down the stretch.

One of the main reasons I am so drawn to Hitchcock is that he planned his shots way in advance on story-boards, which he designed like classic paintings (he was an art connoisseur). It's why he found shooting on set boring - because he had already composed the film in his head.

I've missed more than 9000 shots in my career. I've lost almost 300 games. 26 times, I've been trusted to take the game winning shot and missed. I've failed over and over and over again in my life. And that is why I succeed.

I've been around golf my whole life. My father did it all the time, and I resented him for it. But a couple years ago I picked up a golf club and I understood the physics of it. If anyone knows anything about golf, it's that once you hit a few shots, you'll become addicted.

Filmmaking is so heavy: there are so many people and trucks and teamsters and costume people and hair people and makeup people. I try to make it light and as simple as possible. It's great for actors. It puts the story up front. It's not about shots and dollies and lighting and sets.

There's the internal rhythm within a sequence, and then there's the rhythm between the sequences, and that's extremely important in constructing the narrative. For example, you don't put two big dramatic scenes right next to each other. But you can use the rhythm of the transition shots; they can often serve a double purpose.

I mean, some of the shots I take now I wouldn't have dreamed of taking when I first put on a Heat uniform. I would've been like, 'Who am I to take that shot?' Some undrafted guy who averaged nine points a game his senior year in college.

Always the notorious red-light district of sports, boxing today is as troubled as it was even in the days when the Mob called the shots. There are too many lawsuits and too few heroes. Absurd mismatches and fraudulent rankings by unaccountable offshore sanctioning bodies have disgusted fans.

I wanted to meet other artists. I suppose I simply felt that I was taking pot shots at clay pipes. Pop! Down goes Gertrude, down goes Jean Cocteau, down goes André Gide.

I am the jongleur. I leap and pirouette, and make you laugh. I make fun of those in power, and I show you how puffed up and conceited are the big shots who go around making wars in which we are the ones who get slaughtered. I reveal them for what they are. I pull out the plug, and... pssss... they deflate.

I knock people out. As soon as I land my shots on him, you will see the difference between class and hype. He's been built up and he believes the hype, but I will beat reality into him.

A lot of people live much more simply than in the old days. That doesn't bother me. Keeping busy is the problem. Television guest shot fees are going down. You can do a dozen guest shots a year, but you're not making that much money.

That first pregnancy is a long sea journey to a country where you don't know the language, where land is in sight for such a long time that after a while it's just the horizon - and then one day birds wheel over that dark shape and it's suddenly close, and all you can do is hope like hell that you've had the right shots.

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.

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.