All flesh is one: what matter scores; Or color of the suit Or if the helmet glints with blue or gold? All is one bold achievement, All is fine spring-found-again-in-autumn day When juices run in antelopes along our blood, And green our flag, forever green...
For me, it's important to build good partnerships rather than score centuries. Once, you have those partnerships, you will also get centuries.
[London is] like the sight of a heavy sea from a rowing boat in the middle of the Atlantic.... One lives in it, afloat but half submerged in a heavy flood of brick, stone, asphalt, slate, steel, glass, concrete, and tarmac, seeing nothing fixable beyond a few score white spires that splash up like spits of foam above the next glum wave of dirty buildings.
It occurred to me that I would like to be a poet. The chief qualification, I understand is that you must be born. Well, I hunted up my birth certificate, and found that I was all right on that score.
If you score against the Italians you deserve a goal.
When he's on fire, he is impossible to stop. He dribbles like a winger, but is still able to score 20 goals a year in the Premiership. (on Thierry Henry)
In my private life I do what I like. The night is my friend. If I don't go out, I don't score.
People say he doesn't score a lot of goals with his head, but does he really have to with the ability he has in his feet? He makes spectacular goals look easy. His technique is fantastic. (on Thierry Henry)
If you want something bad enough, you've got to make a bold move. George Washington, took on the British Empire. Neil Armstrong walked on the moon. Ken Titus taped a hotel key to his underwear to score with an airport security guard.
A salamander can grow a new tail in three weeks. My dad can score new tail in three minutes.
David has scored 62 goals in 148 games for Ipswich and those statistics tell me that he plays games and scores goals. (on David Johnson)
I will do nothing for 89 minutes, but score in the 90th.
Ever drive by one of those things on the highway which tells you how fast you're going? I don't even pay attention to them anymore because I found a similar gadget in my dashboard... Some people slow down at those things... I don't slow down. I speed up and set the high score.
I believed that I could still win no matter what the score was.
I'm sure that I was influenced by Goldsmith's large orchestral scores when I started out, and that was because the people who employed me wanted that kind of sound. I wasn't in a position to say, 'Go to Hell!'
We seem to be a side that if we don't score we get beat.
The idea that guys should walk into a bar and confidently initiate contact and then seduce a woman based on a short term conversation is a toxic cultural myth that robs guys of self-confidence and that holds them up to an unrealistic standard that they have to become a super-extraverted narcissist in order to 'score with women'
A good portion of my work with Tangerine Dream at the time involved film music, and I remember approaching it as any 23-year-old would - without much fear or respect. Also, Tangerine Dream was typically asked to deliver a monochromatic kind of score, the electronic-analog trademark sound that TD had become famous for following landmark films such as Sorcerer [Universal, 1977], Thief [MGM, 1981], and Risky Business [Warner Brothers, 1983].
It's more fun when you shoot well and when you have a good score, but that's not a prerequisite to me for having a good time.
There are no right or wrong, or fair results. There's just the final score.
I know the next level for me is to make my teammates better, to win a championship, and to where they have confidence that they can score 20 or 15 points a night and be consistent.
Most composers and arrangers these days use computer programs and keyboards, but I'm one of those dinosaurs that still writes it down on score paper and still dreams it up in his ear first.
London always reminds me of a brain. It is similarly convoluted and circuitous. A lot of cities, especially American ones like New York and Chicago, are laid out in straight lines. Like the circuits on computer chips, there are a lot of right angles in cities like this. But London is a glorious mess. It evolved from a score or so of distinct villages, that merged and meshed as their boundaries enlarged. As a result, London is a labyrinth, full of turnings and twistings just like a brain.
[Vathek] has, in parts, been called, but to some judgments, never is, dull: it is certainly in parts, grotesque, extravagant and even nasty. But Beckford could plead sufficient "local colour" for it, and a contrast, again almost Shakespearean, between the flickering farce atrocities of the beginning and the sombre magnificence of the end. Beckford's claims, in fact, rest on the half-score or even half-dozen pages towards the end: but these pages are hard to parallel in the later literature of prose fiction.
You read reviews by top reviewers of films that not only had remarkably interesting scores, but films whose effectiveness was absolutely enhanced, and frequently created by the music, yet the reviewers seem unaware that their emotions and their nervous reactions to the films have been affected by the scoring. This is a serious flaw. Any film reviewer owes it to himself, and the public, to take every element of the film into account.
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