I used to bring my books to the shoot and used to study in between the shots.

For me, certain shots or scenes are keys in the movie.

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.

Most of my shots are threes and long 2-point jumpers.

I used to bring my books to the shoot and used to study in between the shots.

Half of 'Mudbound' were shots I stole in between other scenes.

I'm a head-shot photographer. I have people come to my apartment, and I take their head shots.

Big shots are only little shots who keep shooting.

Before I went to Liverpool, I was a striker and then sometimes a No. 8 or No. 10, and my thing was shooting, finishing, and long-distance shots.

I make shots, and that's what I am.

An editor does not just join shots. He creates emotions out of the shots.

Growing up, a lot of my shots came off of me dribbling and shooting it.

A talib fires three shots at point-blank range at three girls in a van and doesn't kill any of them. This seems an unlikely story.

I want to be one of those point guards who knock down shots you have to get over the top.

I want to be the guy calling the shots.

I just got to be ready to knock down shots.

I'm trying to capitalize on taking high percentage shots and hopefully making them at a high clip.

There's only a couple stats that matter. No one cares how many blocked shots a guy has, how many hits.

Some games I'm going to get more blocks or they're going to do more mistakes and give up more baskets but some games I get zero blocks and I affect 20 shots.

I'm not out there to be blocking shots or fighting guys. I'm out there to produce offensively.