As tempting as it seems to wear tennis shoes with your tux, don't do it. I think it looks ridiculous. If you're 14 years old, maybe give it a shot. In general, don't portray anything that says 'I'm too cool and I don't care.'
I was lucky enough at a young age to find out what I had a passion for, but whatever you've got a curiosity for, just give it a shot.
My goal is to die in my 90s on the set, say, 'That's a wrap,' after the last shot, fall over dead, and have the grips go out and raise a beer to me.
Our small ears never had such a workout as on the Fourth of July, hearing not only our own bursting crackers but also those of our friends, and often the boom of homemade cannon shot off by daring boys of 16 years, ready to lose a hand if it blew up.
I shot 'Girl' about three weeks after I finished 'The Magnificent Seven.'
There is nothing better than getting shot at and missed. It's really great.
My mother was a modern woman with a limited interest in religion. When the sun set and the fast of the Day of Atonement ended, she shot from the synagogue like a rocket to dance the Charleston.
I always wish I had another shot at it. But, listen, 'Godzilla' is something that I grew up loving. We worked hard to go make one. We kind of blew it. I think everyone gets one.
Most of us fall in love with someone's persona and spend the next three to five years discovering who that person really is. If you can stay connected through that process of raw vulnerability, I think you have a shot at the prize of knowing and accepting another human being for who and what they really are after years of highs and lows.
Listen: God doesn't care whether or not you make your next jump shot. God will give you a lot of things in life, but he's not going to give you your jump shot. Only hard work will do that.
I live in a neighborhood so bad that you can get shot while getting shot.
My golf score is really bad. I don't know. I'm definitely not a good golfer. Off the tee box, I can drive it about 275, and I'm in the fairway about 99% of the time. It's my next shot that needs work.
My dad, Frank Addison Albini, was a terrific shot with a rifle and had generally excellent hunting skills. While my dad loved hunting and fishing, he didn't romanticize them. He was filling the freezer, not intellectualizing some caveman impulse or proving his worth as a real man.
I had so many local shows before I came back to New York, which is the ideal place to do a national syndicated show. Then I spent five years trying to convince people to give me a shot in the syndication business.
I waited all those years for a title shot, and when I finally got it, I had to pay $20,000 for the opportunity. My purse was only $18,000. So to make money, I had to bet $10,000 on myself at 8-5. That was how it was in those days.
The stories my pupils told me were astonishing. One told how he had witnessed his cousin being shot in the back five times; another how his parents had died of AIDS. Another said that he'd probably been to more funerals than parties in his young life. For me - someone who had had an idyllic, happy childhood - this was staggering.
I'm fighting for the Commonwealth title on Saturday and I believe I'll be ready for a world title shot in the next 18 months.
There are some problems, and maybe these huge magazines, even, for someone who says, 'Look, I just use an AR-15 for target practice,' but do you really need to be standing there shooting at a silhouette a shot a second or even quicker with that kind of weapon? For what purpose?
I love hair, I love make up, I love fashion, and I love throwing the shot put.
If I walk into the editing room, it's six hours lost. I'm massaging frames. I'm, like, 'Oh, take six frames off that shot. Hit the music cue right there.' I will drive everybody crazy if left to my own devices in that room. So I try to do everything I can by staying out of the way.
The amount of coordination it takes to shoot a television show is mind-numbing. There are so many things that have to be exactly right to create the correct environment for a single shot, let alone a whole scene or the full episode.
The Tonys are the once-a-year shot for all of these shows and artists who work so diligently every single performance but only for a thousand or so people at a time. This gives them the opportunity to perform to millions of people.
Even though there wasn't much damage, it's a disgrace that the skies over the imperial capital should have been defiled without a single enemy plane being shot down. It provides a regrettably graphic illustration of the saying that a bungling attack is better than the most skillful defense.
I like working in both movies and television. Television is faster, not very much rehearsal and a lot of material is shot in a day. Big budget movies are luxurious in terms of the schedule. Independent films often shoot fast as well.
God bless America - what other civilization would give Patrick Dempsey another shot to rule as a sex symbol, twenty years after 'Meatballs III: Summer Job?' His reign as Dr. McDreamy on 'Grey's Anatomy' is proof that there's nothing we love more than giving Eighties celebs a heartwarming second stab at life.
If you miss something in the theater, you are working through it; you'll get it tomorrow. It's easy to forgive yourself in the theater. On television, you do one shot. All you've done rehearsal-wise is be blocked. There is all this pressure to get it right then.
I've been in crisis situations, I've been down, I've been hurt, I've been behind on the scorecards, and I've had to pull that shot out to knock somebody out. I've been in all kinds of situations and still come out on top.
In an interview with a journalist, you look petty taking the pot shot but in a slick ad you can really do damage - including unfair damage - from afar. It is not that much different than waging a war by a drone than by hand-to-hand combat.
People think hard sparring will get you sharp. And you do get sharp in the gym. But anytime I've trained that way, I've actually been a little bit flatter in the fight. And the knockout shot hasn't come. It's almost because my training has been too hard.
I would be sad if it ended now. It's been the best job I've had by a long shot, especially creatively because the writing is so good. Every week I get the script and I laugh out loud and get excited for the different stuff we get to do.
I like to give dimension to shots inside action scenes. It's demanding because you have to rehearse a lot of things happening at the same time and frame all those things in a shot. But I feel like when you accomplish that then you've got a cool action scene.
I go to Stanford, and I'm an economics major, not thinking I'm going to do anything with acting. A professor came to the dorm where I lived looking for people to audition for an August Wilson play, 'Joe Turner's Come And Gone.' I gave it a shot, got one of the lead roles in the play.
Just by nature, I think in comedy. I think in sketches and what have you. In every drama or action movie I've been in, I have to make a concerted effort not to turn it into a comedy. Every shot, before action is called and after cut is called, I'm usually in some goofy head space. It feels natural to me.
All I ever wanted to do was get a great job on a TV show. When I read 'Modern Family' and started looking at what was available - I obviously couldn't play Gloria; I couldn't play Claire. When I saw the character of Cam, I was like, 'I have to have a shot at this,' because I thought it was a character that would be really fun to play.
In England, you feel like a member of the revolutionary guard the minute you even mention race. But I do think that the OscarsSoWhite phenomenon will have to reflect back on England. What people are essentially saying is that they want to see more diverse stories. It's not about putting three black people in the back of the shot.
Sometimes there's something that a writer doesn't see or a producer doesn't see when he's looking at a shot.