Top 1200 Shots Quotes & Sayings - Page 18

Six good guest shots on top shows during one season are more than enough and any producer who wants to make me happy could offer some floating guest dates for discussion and panel shows. It's generally agreed that I love to talk, so shows of this kind are right down my alley.

The young bloods of the South: sons of planters, lawyers about towns, good billiard-players and sportsmen, men who never did any work and never will... They are splendid riders, first-rate shots and utterly reckless. These men must all be killed or employed by us before we can hope for peace.

When I used to play golf. It's a terrible miserable game. It's incredibly frustrating. In 18 holes you make 150 horrible shots off in the woods, in the water...You make one good shot and it brings you back the next time. With writing a long book there has to be at least one bit that has some magic in it that you can go back to.

I think if you come out to California trying to be an actor, it's pretty hard. There's desperation. A lot of people are desperate, and a lot of people are clueless, including me. It's hard to try to figure it out. I've never told you, but I have head shots that if you saw them... they're so terrible! It's so embarrassing.

I grew up watching LeBron and asking him to follow me back on Twitter, going to his camps. So just to be able to compete against a player like him and be a few shots away from beating him and his team to go to a championship is something I will always remember.

The James Brown we saw tended to be the James Brown we chose to see: as the caped crusader of funk and soul, adored by millions, or as the face in a seemingly endless series of mug shots. The ways in which he appealed to and appalled different audiences made Brown a kind of national Rorschach test.

Sometimes having good games. Sometimes bad ones. Sometimes making shots, and sometimes not. I'm the same guy, and I always said that winning the championship or not winning it, scoring 20 the last game or second-to-last or whatever, or zero, is not going to change who I am or the decision I make.

Corn is the hero of its own story, and though we humans played a crucial supporting role in its rise to world domination, it would be wrong to suggest we have been calling the shots, or acting always in our own best interests. Indeed, there is every reason to believe that corn has succeeded in domesticating us.

Subject matter comes to you, you don't go to it... Although I shoot extemporaneously a lot of the time, I prefer to have half a dozen shots in my mind. Probably I have seen them many times under different conditions and I have been thinking about them. The moment shall come when I shall go back to them and make the photographs.

If you were at Lehman, the same thing happened. If you were at AIG, the shareholders are getting creamed on these things. And those shareholders are not just a bunch of big shots in Wall Street. Those are pension funds, and those are investors all over the country. I wouldn't worry too much about that. Justice won't be perfect on it.

God has an extraordinary destiny in mind for you, as he does for all of us. God will never bring you an opportunity before you're ready to make the most of it, and the career world demands that you prove yourself. So, before you can lead, you have to serve. Service often has a negative connotation. We want to be the one at the top, calling the shots, making the decisions, and getting the glory.

The mind travels faster than the pen; consequently, writing becomes a question of learning to make occasional wing shots, bringing down the bird of thought as it flashes by. A writer is a gunner, sometimes waiting in the blind for something to come in, sometimes roaming the countryside hoping to scare something up.

My ideal situation is to be able to call the shots and be able to work with whomever I want to work with, and really make something amazing. I'd like to crossover more to have mainstream appeal, but I recognize that the music I make isn't your typical top-40 pop record. Striking that balance is my long-term goal.

When you go to a college for acting, at least the college I went to, it's like everybody just singing and dancing and acting, and they all come together, and everyone's talking about head shots... It just turned me off. I was like, 'What is this? I don't understand this. People are singing in the hallways.'

Performance shots are a waste of time, they look like everyone else's. If you want to shoot a performer, then grab them, own them, you have to own people, then twist them into what you want to say about them.

What's so fun when you shoot in a car is you get to research all the other road movies that have ever been done, and you try to figure out where do they place the cameras and how many shots can you get with your people in the car. So just doing the research on the films is so fun.

Movie stars are doing TV series, and former TV stars are doing guest shots. Everybody gets bumped down the line. That's affected everyone in the industry. I've been lucky; I've stayed busy. I'll cross my fingers until it's my turn to be sitting around, not working. I'm sure that'll happen, too.

There's a way of thinking that comes with being an editor that is incredibly useful on the set. It's not just a vocabulary thing or a right-to-left thing or script supervisor stuff. It's a way of thinking about the film and the shots and the way they fit together, what you need and what you don't need, and what you can get away with if you have to.

In film, the camera can get an array of shots so the audience can see the emotion the character is giving off. Using close-ups on the character's face really helps get the message across. On stage, you can't do that. But the stage has that live feeling that you can't get anywhere else because the audience is right there.

We tend to have so many more close shots, which compels an artist to actually put in more effort than it is required otherwise. So, it is the expressions on the face, and how an actor presents his or her character, that really makes a scene. In such ways, Mollywood is a fabulous training ground for actors and actresses from other industries.

It's such an advantage to be able to hit short irons low on command. When it's windy, you'll hit more greens. But low shots are a great strategy in calm conditions, too: The less time the ball hangs in the air, the less time it has to stray off line from the flagstick.

Say good-bye to Dodd-Frank and all of the financial reforms and efforts to try to rein in Wall Street. Just say good-bye to it. That means we can go where Wall Street gets to call the shots again. We saw how that worked out in 2008.

I had the kid [on "Fences" ] who understudied me so I could stand back and think about shots so he had to learn the blocking and everything. I'd come in early sometimes, and they 'd be in there rehearsing and working on their stuff. I didn't want them to feel like, "Oh these are people who can't be touched." We're all working actors; we're all trying to get better.

Today, he showed the world why he is considered the best batsman around. Some of the shots he played were simply amazing. Earlier, opposing teams used to feel that Sachin's dismissal meant they could win the game. Today, I feel that the Indian players, too, feel this way.

Telling the story with only a few shots, I love that style. It makes you feel like you're part of the action, part of the story. It reminds me of the theater, where one act is basically like one long shot. It almost makes you forget that you're seeing a movie.

Once I wrote 'Atmosphere,' I thought, 'This is my story; it's me and my life and what I've gone through to get to where I am.' I'm not the best singer, but still. All of my albums are personal, but putting myself out there and singing is one more thing that makes me vulnerable - one more thing that people can fire shots at.

Though I am born into a film family, I hardly had much exposure to shooting during my growing years. My first film actually taught me about the breakdown of shots in a film. My aim is to do three memorable roles in the next five years; films I can be really proud of. And I want to work with the best.

The work I've been putting in, I've kind of just been preparing myself for every situation. I've been doing a lot of off-the-ball shooting, catch-and-shoot shots. And preparing myself to play on the ball as well.

Sometimes it helps to take a couple days off, as weird as that sounds. Every once in a while, I could just shoot so many shots. You can get so, like, intense with it all. It's like in life, right? We're all created for a sabbath day or for a day of rest. You sometimes need that in shooting, too.

I keep like simple thing in my head, so obviously is working. Then it's luck. To be honest, look at set point. I hit one of the worst drop shots I ever hit and he hit a frame It's pure luck, you know, to haven't drop a set. So you need to have it sometime, and I hope I will have more.

The day I stop giving is the day I stop receiving. The day I stop learning is the day I stop growing. You miss 100% of the shots you don't take.

The fun of being a supervisor is that you kind of get to shape the film as a whole rather than crafting a complete scene. I can't really think of one in particular that I feel like I own, except for a couple shots that I animated, which is fun. But feeling like you contributed to the whole is the most satisfying thing.

Courses that you've had success on, all of a sudden your game turns around because you feel comfortable on your tee shots, you feel comfortable going to the greens, you know, all the reads on the putts. It's a feeling that's hard to describe, but it's certainly one that you get filled up with confidence more than anything else.

Golf is no longer a game of hitting the ball, finding it, and hitting it again. There is wind to be measured, whether that means tossing blades of grass in the air or studying the gentle movement of 60-foot high branches. There are caddie conferences for even the most routine shots. There are sports psychologists who tell players not to hit until they're ready.

But since I did my first film with Shammi Kapoor ji, he is my favourite. I was very shy to face the camera. In my first few shots with Shammi chacha, I was very nervous. He was very patient with me and guided me in every shot.

In putting setting to work, I like to think about long shots and close-ups. The long shot is the overall view of the place in which the characters live - the island, the town, the wide sweep of place. Then we narrow in. The close-up, the tight focus, makes the place different from anywhere else.

I like to get on the court three hours before the game. That way, I can get out of everybody's way, and I can do what I need to do for me and get up the shots that I need and then be in the locker room and getting my stuff taken care of physically - if I need treatment or whatever may be.

I want my work to always be hopeful, in the end. You're giving me two hours, and, in Shots Fired's case, 10 hours of your life. I don't want you to ever leave something I've done feeling worse than when you came in. I hope the work can be aspirational, and aspirational doesn't have to be corny at all.

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.

Every day you gotta bring it and you gotta perform. If you have one big bad hole and just hit a couple of bad shots at the wrong time, pretty much wrecks the whole day and most cases your whole week. So that's the hard thing about golf.

That's probably the biggest thing for any team in the playoffs, for every team - if you want to win. It's not about your numbers. It's not about scoring. It's about the team and whatever it is you need to do to help the team win. Whether it's rebounding, taking charges, getting steals, blocking shots or guarding somebody.

You got to be able to hit mid-range shots, you got to able to hit threes and you got to be able to finish in the lane.

I know what you're thinking. Did he fire six shots or only five? Well, to tell you the truth, in all this excitement, I've kinda lost track myself. But being as this is a .44 magnum, the most powerful handgun in the world, and would blow your head clean off, you've got to ask yourself one question: "Do I feel lucky?" Well, do ya, punk?

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.

Right backs now should be the highest paid players in every team! Strikers just have to score. Midfielders, they pass. Goalkeepers make saves. Full backs have to mark, cover centre backs and midfield, get forward and cross, take shots and provide the link to strikers.

Glamour invites us to live in a different world. It has to simultaneously be mysterious, a little bit distant - that's why, often in these glamour shots, the person is not looking at the audience, it's why sunglasses are glamorous - but also not so far above us that we can't identify with the person.

I think there's a role for everybody. Even a guy who's not known as a scorer, like a DeAndre Jordan - he sets the best screens, he blocks the most shots, he gets the most rebounds, he's great for your team, he helps you win games. Like, he helps you win big.

You watch Conor McGregor and Floyd Mayweather fight, Floyd can just throw a few punches, or he can do a lot of defense; he can slip a few punches, let Conor get a few shots in. You can't really do that in wrestling without getting scored on or putting yourself at risk.

When we were shooting the movie, and of course in the editing room we had to make choices, but the shots fall almost exactly where we thought they would. They're not about content; they're never meant to be about what just happened. There's that weird phenomenon where the more you like a movie the more your mind wanders and goes all over the place.

I've done some effects shots. I've done some compositing. And in 'Just Like Heaven' did a lot of, like, motion control and things like that. But never done, like, computer-generated imagery in action.

I love watching Anthony Kim play, but I'm not a fan of the way he grips down a good two inches on his full-swing shots. Choking down lightens the club's swing weight and effectively makes the shaft stiffer. It also makes it difficult to hit the ball high enough for all situations.

We were masters of nature, masters of the world. We had forgotten everything--death, fatigue, our natural needs. Stronger than cold or hunger, stronger than the shots and the desire to die, condemned and wandering, mere numbers, we were the only men on earth.

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.

It's hard for women who make a lot of money and make decisions all day long, then they have to come home and be 'Stupid Sally.' Men need respect, and they need to know that they can lead in the relationship, so even if they don't make the most money they need to be able to call the shots.

In my case, I was placing extreme pressure on my lower spine from rotating my hips too much. This is a common cause of bad backs - and bad shots - for golfers of all levels. In addition to resting, I worked with my trainer, Joey Diovisalvi, on strengthening the weaker lower-body muscles that contributed to my overactive hips and back pain.

When I started, we had just the camera and the person, mostly. And if you wanted to do a dolly shot, particularly working in Chicago where I began, you'd get in the back trunk of a car, and you'd have a friend drive the car, or you'd get in some kid's little wagon that he plays with and have someone pull that for dolly shots.

When they released Sidewalks of New York, there were some shots with the towers they were going to take out, and Ed told them no. I don't think they can deny the towers were a part of New York.

A saucer flew right over (us), put down three landing gears, and landed out on the dry lakebed. (The cameramen) went out there with their cameras toward the UFO.... I had chance to hold (the film) up to the window. Good close-up shots. There was no doubt in my mind that it was made someplace other than on this earth.

As a kid, I always wanted to be like Spielberg and to make wonderful movies. Even when I was making 'Indiana Jones,' I was looking at how he would come up with these amazing shots and how he would choreograph the blocking and all that. So I knew from early on I would go to film school and try to work behind the camera.

Anytime you have a Pat Riley running things, calling the shots, you are not going to question things because he has been through it. He knows what it is all about and what it takes to win. All we have to do on our end is play basketball because we know the right calls and the right decisions are going to be made up top.