Quotes About Scoring

My stats speak for themselves; I've got a good touch for a big man, I know I can find the back of the net.

I feel like I touch the paint basically every play I'm out there.

I'd much rather throw for a touchdown than run for one.

I definitely like to throw a deep post or something over the top that gives a receiver time to run under it and score a touchdown.

The point guard thing was I had to figure out how to score when I'm hot, and how to distribute and make sure everybody is happy. Because I can be happy scoring the ball. But when everybody isn't touching the ball, and we're not making the defense move, it's kind of pointless. So, I've got to find a way to keep everybody in the loop.

I have played up front for England, been away to tournaments, and scored goals there, so I know once I get into those positions I will put the chances away.

I don't pick tournaments to score or rivals or other teams to score against. I'm a striker: every game I play, I want to score.

I like to get out and get up the court, using my speed and aggressiveness toward the hoop.

I do listen to music. Movie scores, exclusively, because it's all about mood and nonspecificity. I love the way modern movie scoring is all about nonspecificity. You know, if I shuffled the tracks from 'Inception,' I challenge you to tell me which is which.

When I got traded to the Raptors Kyle Lowry told me, 'We expect you to average 15 points a game off the bench.' And I said, 'Perfect, so you need me here.' And that made me feel wanted. So once he put that expectation on me, it just made everything fall into place.

My job is to skate as hard and fast as anyone in the WHL. My job is to pound all the opposing forwards and defensemen into the boards whenever possible. My job is to score goals on those few times I have the puck and the net is so wide that even an elephant in handcuffs couldn't miss.

Definition of Love: A score of zero in tennis. I love thee with the breath, Smiles, tears of all my life.

Godzilla' took two months because it required a two-hour-plus score. 'Imitation Game' was three weeks.

But that's something that I like about scoring film: it makes me reach out of the parameters of my self, it requires me to do things musically that I wouldn't normally do left to my own devices.

The biggest thing to realize when you're guarding great players is, look, they're going to score - it's hard to guard anyone one-on-one, straight-up and have them be shut out. You just want to try to make them work for their possessions.

Scoring can be simply a matter of confidence. Sometimes it happens easily.

Teams are already marking me individually: they are putting two players there on my side. Unfortunately, it's difficult, but I'm doing what I can. I'm facing them. I'm making assists. I'm trying to score my goals.

When you score a goal by dribbling you don't remember it because it is instinctive.

I didn't have any natural instincts toward heading. It cost me lots of opportunities to score.

But television, when I was doing it, was all about scoring. You had to make these jokes bang, do whatever you could to make the material really pop. And if it didn't, there was something wrong with the material, or with you.

I don't really care how many yards I throw for; as long as we score more points than the guys we're playing.

Ultimately, the yards really don't matter. So you have to score enough points, and I have been fortunate in my career to have been around some really good play callers, starting with Gary Kubiak and then going with Kyle Shanahan and Sean McVay, and that was always at the forefront of our minds: How can we create explosive plays?

I feel like there should be a statute of limitations on scoring political points on the tragedy that was Hurricane Katrina.

Running in transition and scoring in transition, prevents you from setting your defense up on the other side.