Quotes About Shooting

Shooting is all about rhythm and confidence, and sometimes those are the last things that get there.

Being in the D-League, I might be able to get into a rhythm and start shooting the ball well and get some confidence and get some reps.

You've never seen anyone shoot it like me. It comes off the left side. I don't know. I don't know. It still spins the right way.

For me, the scariest moment is walking on set before we shoot the first shot, and I am so anxious. It's a lot of pressure, and it's scary, and I don't think that fear ever goes away.

In features, we're languid: we shoot one or two scenes over, like, three days. In TV, the pace is so different. You're shooting ten scenes a day, going way into the future or way back into the past. It's complete madness, and I'm just trying to keep up with this really electric pace.

I run a fast pace on my sets, man. I like the energy of the scene to be the energy on the set. I think it affects the actors, and I think it affects the crew. There's that sensation like you're really shooting it for real, like in a documentary.

You can't fix a bad script after you start shooting. The problems on the page only get bigger as they move to the big screen.

You know, episodic TV directing is a very long and arduous job. You have very short schedules, short short shooting days, and you have to get lot of pages done.

In daytime, you're shooting an episode a day, which is on average about 90 pages of script a day. That is very hectic. On '90210,' you get to work through it a little more. You're not just flying through it just to get it done.

I made a lot of big threes throughout my career, but it was the 3-point shot that allowed me to maneuver inside the paint, post-up, mid-range game and so forth.

I think mid-range shooters are hard to get to a lot of times. Guys are going at you all the way to the paint or looking to swat it at the 3-point line.

I have a lot of fun with guns, especially the M-16, but my favourite is my little .22. It fits nicely in the palm of your hand. I do limit myself to blanks.

When I make a movie, I don't break it down and analyze it. I could but it would get in the way of doing a job - on instinct based on all the research we did going in. you want to trust yourself and your director and your acting partners in the circumstances you're shooting. I don't like to have any kind of overview.

We shot 'Party Girl' on film, and I remember being told, 'We need to get this in two takes because we don't have a lot of film in the mag right now!'

Arsenal are all about nice, intricate passing movements around the box, so if I shoot too much from outside the box without scoring, the boss will have a go at me!

That's what Europe brought to the NBA: the passing skills, the shooting skills.

I was always really good with the ball, I was always passing the ball, scoring, shooting the ball. I think for me, that's just a normal thing.

I guess I get the most notoriety from my shooting. But I like passing and movement, making the game easy.

We were doing it under the most extraordinary circumstances, but the first out of the tent in the morning would be David Lean. He said to me on the very first day of shooting, Pete, this is the beginning of a great adventure.

As soon as you're finished shooting, you have to go into the edit room and choose all of the shots that you're going to commit to because the visual effects vendor has to get it because they'll spend months on it. So, you're editing out of sequence before you've gotten a film for the movie and the performances.

In the time between when you first read a script and are offered the role and the time when you begin to shoot, I really love putting in the time and work on that and getting a solid backstory to a character and researching all that I can about what that person does for a vocation or their upbringing or where they're from.

The first day of shooting came, and of course I was nervous. I would lie if I said I wasn't impressed. I mean, Lars von Trier hiring me to be the king in 'Medea'... Lars said, 'Stop! Stop!' And I was so nervous, I turned around and said, 'What is it?' He said, '... Just be a tired king.'

I learned a lot about how to shoot and how to put together sequences.

I'm lucky if I find one movie a year that's worth doing, and when I do find one, it usually only takes 20-30 days to shoot.