A Quote by Matt Cassel

Five turnovers in the second half; you can't beat anybody doing that. — © Matt Cassel
Five turnovers in the second half; you can't beat anybody doing that.
I can't have no assists and five turnovers. If you have no assists and five turnovers, you have to look yourself in the mirror and figure out how to adjust.
The Ten Commandments are for lame brains. The first five are solely for the benefit of the priests and the powers that be; the second five are half truths, neither complete nor adequate.
I believe the second half of one's life is meant to be better than the first half. The first half is finding out how you do it. And the second half is enjoying it.
It's always great when a defense is able to create turnovers and score. That's something we missed last year. We'd get some turnovers, but we never scored points.
I was already on pole, then by half a second and then one second and I just kept going. Suddenly I was nearly two seconds faster than anybody else, including my team mate with the same car.
To score points, you need a lot of consistent effort over the course of the game. If you're throwing it or running it in, it's not a big difference in terms of the score at all, obviously. But turnovers limit your scoring. That's the problem with turnovers.
I want to be better than five guys. I was that way when I used to box, I was that way in any sport. I want to compete with five other guys. If I beat five other guys, I'd like to see if I can beat six.
For is it not possible that middle age can be looked upon as a period of second flowering, second growth, even a kind of second adolescence? It is true that society in general does not help one accept this interpretation of the second half of life.
When we are playing, the whole country is behind us, and that gives us a good feeling. We are almost half and half. We are from everywhere. In the end, we are doing well as a team, and we love it when we hear the game is sold out in five minutes. That's the reason you play.
Bill Ward, when you hear his beats, he's not just playing a straight 4/4 beat; he's doing almost a hip-hop beat. There's a song called 'Sweet Leaf.' The drum beat that he's playing, he's trying to kind of swing and funkify it. Now, is he doing a great job of it? Maybe not. Maybe.
I bring up 'The Heist,' and you can almost cut that record down the middle between songs where the beat came first and the words came second, and songs where the words came first and the beat came second. It can start with a vibe, a beat that drives a story, or it can start with a story and then trying to identify the tone to tell that story right.
On the second half of 'Under Pressure,' I talk about my family, and there are voicemails on my phone from when I was on the road that actually make up the second half of the nine-minute song. I transcribe them and rap them as if I were my sister, my brother, or my father.
There is a drowsy state, between sleeping and waking, when you dream more in five minutes with your eyes half open, and yourself half conscious of everything that is passing around you, than you would in five nights with your eyes fast closed, and your senses wrapt in perfect unconsciousness. At such time, a mortal knows just enough of what his mind is doing, to form some glimmering conception of its mighty powers, its bounding from earth and spurning time and space, when freed from the restraint of its corporeal associate.
Anybody plays a good match, you can beat anybody on a given day.
Once you get to a certain level, anybody can beat anybody else on any given day.
Think about the deflections. The offense can't score every play. They're just trying to get a good shot. If I can deflect a pass, even if it doesn't cause a turnover, it will throw their timing off half-a-second. That half-a-second might mess up their shot.
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