I want to improve my shooting, my free throw shooting, keeping my turnovers down.
You never really know as an actor; it's completely out of your control, in terms of editing, and music, and film stock, shot selection, and what takes they use.
Normally as a director, you do look at other films and things that are relevant. But with this film, it became impossible because I became so aware of the camera placement.
I still play my fast-paced style but when the game slows down it allows you to see the little things - the right passes, where to lay the ball up.
Every single director stops at the moment he thinks he has the shot. Sometimes, directors shoot an establishing shot where everything is in the shot. He's going to use this at the beginning and the end.
The 'Natmeg' from England's Natalie Sciver attracted a lot of attention as a brilliant piece of improvisation, which requires every bit as much talent as a Tillakaratne Dilshan 'scoop,' or a Jos Buttler 'ramp' shot.
The most important shot in golf is the next one.
When I came into the NBA, coaches wanted you to shoot a midrange shot or two before you shot your 3 - you know, to get an 'easy one' first.
Cinema is a matter of what's in the frame and what's out.
Shooting on film is great because it imparts discipline: What do you need to see so you're not finding it in the camera. When I'm shooting, I have the scene in mind, where I'm going to have certain lines. I learned to overlap and to shoot more than I think I need. That was the learning curve.
During a tournament, I'm not thinking about mechanics at all. I'm in scoring mode.
I've always said, the harder the golf course, the better I play.
If you have an open shot, and you're a shooter, and you've put hours and hours on the practice court shooting the ball, you shoot the ball in the game. It's just that simple.
I've always been a high-percentage shooter, obviously because I'm dunking and laying the ball up.
I don't think you can be a great director without knowing a lot about editing.
The long takes process doesn't allow for that many takes. In the past I have shot over 50 takes of different shots. Sometimes you end up using take 64, sometimes take four.
Think ahead. Golf is a next-shot game.
If your shot is broke, you at least want to shoot it comfortably. You want to be comfortable shooting a broke shot. You don't want to be uncomfortable shooting a broke shot.
Certainly, if you can't manage your game, you can't play tournament golf. You continually have to ask yourself what club to play, where to aim it, whether to accept a safe par or to try to go for a birdie. You can't play every hole the same way. I never could.
Once I feel like I know my teammates, know where everybody is going to be, being a basketball player will allow me to attack from anywhere on the court, get better shots and facilitate.
A lot of guys can shoot two, three, four, five, six, seven, 10 feet behind the 3-point line. A lot of people can do it. It's just, when is it going to be considered a good shot? When are coaches going to encourage you to shoot that shot?
Play the shot you've got the best chance of playing well.
I don't have to shoot from more than two feet. I'm top 50. I've got 23,000 from where I shoot.
Throughout my career, I've always loved hitting deep shots over the top. A lot of times, those plays just come to you. You don't want to force it.
I've always felt that when I've been successful in red-ball cricket it has been because I've left the ball well and sometimes in cricket the shots you don't play are more important than the ones you do.
