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.
Golf is not about the quality of your good shots, it is about the quality of your bad shots.
There's things that you just couldn't do with an optical printer. Now, with digital compositing, most of the energy that goes into a shot goes into the aesthetic issues of, 'Is it a good shot or not?'
I'm working on everything, especially staying balanced when I shoot the ball. That's the biggest thing, as well as taking good shots within the offense.
There are no good saves, there are only weak shots.
Reverse the ball one time for a good shot, two times for a great shot, three times for a layup.
The only difference between a good shot and a bad shot is if it goes in or not.
It's got to feel good off the face, it's got to look good from on top of the ball. And then, obviously, it's got to perform. But in those iron testings, obviously, I'm just trying to hit the best shots I can.
Don't let the difficulty of actually achieving a shot make you think that the shot is good.
The good shots are good enough. It's really about managing those mistakes and making sure we have less of them.
I mean, one shot you treat like you have forty little matches instead of one forty shot match. It makes all the difference in the world. It's easier to just forget about a not so good shot.
