I believe that good defense embodies seven cardinal principle: reduce the number of your opponent's shots; force your opponent into low percentage shots; control everything within 18 feet; eliminate second shots; no easy baskets; point the ball on all long shots; and prevent the ball from going into the pivot man.
For me, it's just finding ways to create shots. I feel like if I got a shot off, it has a good chance of going in. So it's finding ways of creating different shots. Being smart. I watch film a lot, and different tricks that I can do to get my shot off the ball and creating ways to get shots off of pick-and-rolls or one-on-one situations like that.
I build confidence when I practice a variety of shots - hitting it high or low, working the ball. A lot of golfers go to the range and just hit full shots. That doesn't build on-course confidence, because you won't always hit full shots out there. My confidence is built on knowing I can effectively work the ball in any circumstance.
Nobody - but nobody - has ever become really proficient at golf without practice, without doing a lot of thinking and then hitting a lot of shots. It isn't so much a lack of talent; it's a lack of being able to repeat good shots consistently that frustrates most players. And the only answer to that is practice.
I'm a big fan of fiction film where you have a story and you have to transform that into a visual language, basically working with actors and also transforming that into how you pronounce that in the visual language of the shots, the construction of the shots and the lighting. All of that appealed to me from the beginning of my career at the university. When I graduated from the university, I wanted to deal mainly with that, with the visual aspect of the movie.
I'm not perfect. I never identified with the way I look; I was just born this way. I don't feel rejection if I'm not the right person for a job, because that's not where I find my self-worth. I'm a beautiful person, and that's not because of my modeling career. There are good shots, and there are bad shots, but it's just like playing a character. If you think of the top five people that you care about the most in your life, you probably don't care if they look good in every angle or photo.
Although the assembly of the shots is responsible for the structure of the film, it does not, as is generally assumed, create its rhythm; the distinct time running through the shots makes the rhythm of the picture, and the rhythm is determined not by the length of edited pieces, but by the pressure of the time that runs through them. The pieces that 'won't edit', that can't be properly joined, are those which record a radically different kind of time
At its best, the US Open demands straight drives, crisp iron shots, brilliant chipping and putting, and strategic position play. Plus the patience of St. Francis and the will of Patton. At its worst, the Open eradicates the difference in ability between a Tom Purtzer and a Tom Watson and throws both in the same jail of high rough and high risk shots. This is the disturbing tendency in the Opens of the seventies and eighties, one which worries everyone in golf.
Even dramatically how you position some person, the depth, the existence is different than a flat image even though by itself it has depth, we create the illusion of depth. For example, some of the shots I have to stay closer to the actor because it's a young actor, I like it closer for some of the shots. I watch 2D scenes next to the camera, then when I go back to my station and watch it in 3D I have to go back and reduce his acting, he has to shrink a little bit because he peeks out more.
FAN THE HAMMER AND RELOAD CAM IN THIS AND I'M BACK LIKE WHOA I DON'T SEE YOU, I JUST CUPS NOW LINE 'EM UP IN THIS BITCH LIKE YUPP! BUCKY BUCK AND I'M LOADED UP 6 DEEP AND I'M ROLLING UP 1 SHOT, 2 SHOTS, 3 SHOTS AND I'M BLOWING UP I STILL TIP, BUT I NEVER SPILL EVERY TIME I GO OVERKILL WHEN THE BEATS BANG, I HEAD BANG GO BLACK AND DECKER, YOU KNOW THE DRILL YOU KNOW ME, I'M THAT CRAZY BOY ALL UPBEAT, NO LAZY BOY I BREAK SHIT, NO DECOY PUSH THE BUTTON, I DEPLOY
Down With Webster
All true competitors in any field and walk of life take adversity and are strengthened from it. They develop a reputation of determination and toughness that wins more decisive moments in life than winning shots. Bobby Blair was one tough player. Playing him was like going into a phone booth with an angry bobcat. His massive talent was only surpassed by his courage to hit the big shots under the most pressure. No one ever looked forward to playing him. It was going to be pain and suffering if you wanted to go the distance it took to beat him.
YO, SEE I'VE BEEN WORKING ALL WEEK MAN I COULD USE A DRINK LONG AS I'M WITH ALL MY PEOPLE I DON'T CARE WHAT CLUB WE HIT WAKE UP DRUNK LIKE ED SHEERAN LAST NIGHT WAS PERFECT I'M SURPRISED I AIN'T DEAD I TOOK MORE SHOTS THAN CURTIS ALL MY FRESHERS THAT KNOW THAT I'M THE FRESHEST IT'S FIRST YEAR YOU WANT A FIRST TONIGHT I'LL PRAY YOU'LL GET IT YOU SEE I STARTED RAPPING AT FOURTEEN MET WILEY AT ONE SIX HOUSEHOLD NAME IN THE GAME NOW AND I AIN'T EVER TOUCHED ONE BRICK SO DJ'S PRESS PLAY BOTTLES UP, IT'S TOAST TIME THE ROLLIE'S PRESIDENTIAL LIKE IT'S VOTE TIME WE TAKING SHOTS NO FREE THROW THIS IS DOWN FOR THAT RELOAD LIKE OXIDE NEUTRINO
Bradley is one of the few basketball players who have ever been appreciatively cheered by a disinterested away-from-home crowd while warming up. This curious event occurred last March, just before Princeton eliminated the Virginia Military Institute, the year's Southern Conference champion, from the NCAA championships. The game was played in Philadelphia and was the last of a tripleheader. The people there were worn out, because most of them were emotionally committed to either Villanova or Temple-two local teams that had just been involved in enervating battles with Providence and Connecticut, respectively, scrambling for a chance at the rest of the country. A group of Princeton players shooting basketballs miscellaneously in preparation for still another game hardly promised to be a high point of the evening, but Bradley, whose routine in the warmup time is a gradual crescendo of activity, is more interesting to watch before a game than most players are in play. In Philadelphia that night, what he did was, for him, anything but unusual. As he does before all games, he began by shooting set shots close to the basket, gradually moving back until he was shooting long sets from 20 feet out, and nearly all of them dropped into the net with an almost mechanical rhythm of accuracy. Then he began a series of expandingly difficult jump shots, and one jumper after another went cleanly through the basket with so few exceptions that the crowd began to murmur. Then he started to perform whirling reverse moves before another cadence of almost steadily accurate jump shots, and the murmur increased. Then he began to sweep hook shots into the air. He moved in a semicircle around the court. First with his right hand, then with his left, he tried seven of these long, graceful shots-the most difficult ones in the orthodoxy of basketball-and ambidextrously made them all. The game had not even begun, but the presumably unimpressible Philadelphians were applauding like an audience at an opera.
As part of an effort to prod college seniors to get tetanus shots, a group of students was given a lecture meant to educate them about the dangers of tetanus and the importance of getting inoculated against it. A large majority of those students reported that they were convinced and planned to get their shots, but in the end only 3 percent got them. Bu another group of students, who were presented with the same lecture, had a 28 percent inoculation rate. The difference? The second group was given a map of the campus and asked to plan their route to the health center and pick a date and time to go. Sometimes, you see, motivation isn't our problem. Rather, we need to identify life's everyday mental obstacles - regret, fatigue, overconfidence, fear, to name just four - and put ourselves into position to hurdle them.