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Peyton Manning says he hates when Quarterbacks take sacks to protect their completion percentage because only 7% of drives turned into touchdowns after a first down sack “If you give up a seven-yard sack, your chances of converting, that drive is almost over. Tom Moore at the time, when... I first started, said, ‘There's only a 7% chance of a touchdown drive after a sack.’ That just stuck in my head.” “It bothers me when I see quarterbacks take an unnecessary sack to avoid the incompletion. Avoid affecting their completion percentage.” “Because that sack falls, not on them, it falls on the offensive line. I learned real quick from an old coach named Howard Mudd who said, you better throw that ball away. Don’t give that to us if it’s unnecessary. Seven percent.” “I’m like, there’s no chance we’re going to score a touchdown if we get a sack. A throwaway? I can deal with second-and-10. I can’t really deal with second-and-18 that well. There’s not a lot of good second-and-18 calls on that call sheet.”show more

Josh Chambers

15,076 subscribers

1,250,721 görüntüleme • 11 gün önce •via X (Twitter)

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J Reynolds profil fotoğrafı

J Reynolds11 gün önce

@PoupartNFL this is a good stat. Have to get through those progressions faster too.

DudeWith GreatAdvice profil fotoğrafı

DudeWith GreatAdvice11 gün önce

Protecting your completion percentage by making sure the drive never gets completed. The spreadsheet is happy. The punter is exhausted.

Bobby profil fotoğrafı

Bobby11 gün önce

I love this story from Peyton but the part he talks about the lineman saying it ain’t there fault….like well how did the d lineman get to the qb then?

Phil Sisneroz profil fotoğrafı

Phil Sisneroz11 gün önce

We see Payton Manning 20 time's a game during football game. Must he be interviewed too?

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Mikie Sherrill on Lara Trump’s claim that prices are coming down: I think in New Jersey we’d call that a barrage of shit. But I’ll tell you what’s going on here with tariffs. Chuck, a coffee shop owner, was telling me that a big burlap sack of beans that used to cost $2.50 now costs $7 — and as he put it, that’s because Trump got into some fight with the Brazilian president. So now he’s going to have to raise prices on everyone. Prices are not going down. In fact, we’re seeing them go up everywhere, and I think that trend is only going to continue. The jobs numbers have been bad. We lost about 10,000 jobs in New Jersey. And we’re a really resilient economy — so if that’s happening here, I can only imagine what it looks like in the rest of the country.

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Ahmed/The Ears/IG: BigBizTheGod 🇸🇴

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aly ✶

67,040 görüntüleme • 6 ay önce

David Lean on how to direct actors & shares a funny story that happened during the filming of 'The Bridge on the River Kwai' (1957) "Interviewer: Could you talk about how you work with your actors? Lean: Dangerous subject. Well, it’s intensely personal. I always try not to speak in a loud voice when I’m talking to an actor on the set. I gently take them aside, and I whisper because I don’t want to give the impression, for their sake, that they are being told to do this or that by a teacher. I try as hard as I can to make them suggest something that I want them to think of. The trouble with actors is that it’s a very di cult job with this damned glass eye looking at them all the time. It’s quite di cult talking to all of you here, but I’d rather talk to all of you than I would have a hundred-millimeter lens pointing at me. It’s so concentrated. It’s part of a director’s job, I think, to get the actor to give as good a performance on the stage as he gave to himself in the bath in the morning. So I try to relieve them of their inhibitions. It doesn’t help if you talk from a great height, from a megaphone, as it were. I try to get their confidence. I try to give them confidence. I can’t bear some actors, the rambunctious types who think they know everything. You’ve got to knock them down and make them realize they don’t know everything. If you’ve really done your homework on the script, you, the director, know the part better than any damned actor because you’ve been at it for months. I’ve had lots of actors who want to change dialogue. I see them doing it. I won’t have it. They took on the script and they’ll stick to it. I’m terribly tempted to tell you a rather long story about Sessue Hayakawa. You know, I nd constantly that actors really are not interested in anything but their own parts. We had a scene in 'The Bridge on the River Kwai' (1957) where they had all the troops lined up, and Sessue gets up on the soapbox and talks. We went through a rehearsal, and I said, “What’s wrong?” Because it was the speech and yet it wasn’t the speech. What Sessue had done was to learn all the lines that were only his. He had cut out all the lines that were anybody else’s. The main script was about that thick, and his script was only that thick. He marked only the pages in which he spoke. He had thrown out the rest and bound it together. Now, we came to the scene at the end of the picture. Alec Guinness is looking over the edge of the bridge and he thinks he sees some wires. He goes up to Hayakawa and says, “Colonel Saito, there’s something rather peculiar going on. I think we better go and have a look.” Guinness walked o the bridge, which leads down to the rocks, and Sessue stayed there like a rock. I said, “Go on, Sessue, follow him.” He said, “I follow him?” I said, “Sessue, this is where you nd the wires and where you get killed.” He said, “I get killed?” He had thrown the page away because he had no dialogue. I’ll tell you another story about an actor, though I won’t tell you who it was. He was damn good, but I was kind of dissatisfied. I said, “Look, I understand that an actor is projecting ninety percent to the person he’s playing with, and ten percent is going out toward the camera. I’ve only just realized that you’re putting ninety percent out to the camera, and ten to whom you’re playing with.” It changed his performance immediately." (David Lean's interview to AFI, 1984)

David Lean on how to direct actors & shares a funny story that happened during the filming of 'The Bridge on the River Kwai' (1957) "Interviewer: Could you talk about how you work with your actors? Lean: Dangerous subject. Well, it’s intensely personal. I always try not to speak in a loud voice when I’m talking to an actor on the set. I gently take them aside, and I whisper because I don’t want to give the impression, for their sake, that they are being told to do this or that by a teacher. I try as hard as I can to make them suggest something that I want them to think of. The trouble with actors is that it’s a very di cult job with this damned glass eye looking at them all the time. It’s quite di cult talking to all of you here, but I’d rather talk to all of you than I would have a hundred-millimeter lens pointing at me. It’s so concentrated. It’s part of a director’s job, I think, to get the actor to give as good a performance on the stage as he gave to himself in the bath in the morning. So I try to relieve them of their inhibitions. It doesn’t help if you talk from a great height, from a megaphone, as it were. I try to get their confidence. I try to give them confidence. I can’t bear some actors, the rambunctious types who think they know everything. You’ve got to knock them down and make them realize they don’t know everything. If you’ve really done your homework on the script, you, the director, know the part better than any damned actor because you’ve been at it for months. I’ve had lots of actors who want to change dialogue. I see them doing it. I won’t have it. They took on the script and they’ll stick to it. I’m terribly tempted to tell you a rather long story about Sessue Hayakawa. You know, I nd constantly that actors really are not interested in anything but their own parts. We had a scene in 'The Bridge on the River Kwai' (1957) where they had all the troops lined up, and Sessue gets up on the soapbox and talks. We went through a rehearsal, and I said, “What’s wrong?” Because it was the speech and yet it wasn’t the speech. What Sessue had done was to learn all the lines that were only his. He had cut out all the lines that were anybody else’s. The main script was about that thick, and his script was only that thick. He marked only the pages in which he spoke. He had thrown out the rest and bound it together. Now, we came to the scene at the end of the picture. Alec Guinness is looking over the edge of the bridge and he thinks he sees some wires. He goes up to Hayakawa and says, “Colonel Saito, there’s something rather peculiar going on. I think we better go and have a look.” Guinness walked o the bridge, which leads down to the rocks, and Sessue stayed there like a rock. I said, “Go on, Sessue, follow him.” He said, “I follow him?” I said, “Sessue, this is where you nd the wires and where you get killed.” He said, “I get killed?” He had thrown the page away because he had no dialogue. I’ll tell you another story about an actor, though I won’t tell you who it was. He was damn good, but I was kind of dissatisfied. I said, “Look, I understand that an actor is projecting ninety percent to the person he’s playing with, and ten percent is going out toward the camera. I’ve only just realized that you’re putting ninety percent out to the camera, and ten to whom you’re playing with.” It changed his performance immediately." (David Lean's interview to AFI, 1984)

DepressedBergman

36,391 görüntüleme • 7 ay önce

Asmongold explains why he thinks you should be able to get an abortion at any time, and compares it to the Second Amendment “My position is that you should be able to have an abortion at any time. Not because I like abortions, but because I don’t think the government can be fast enough at being able to distinguish when it’s a good or a bad decision. You can’t afford to have large scale bureaucracy involved with decisions that need to be made on a week to week basis.” “It’s the same as the Second Amendment. If we took away everybody’s guns, I guarantee you would have less homicides in America. But I don’t give a shit, because I want to have a gun. I want to be in America. So at a certain point, you have to understand that you absolutely do incur more risk and more collateral damage by allowing freedom. Freedom is not freedom from accountability. Oftentimes freedom is creating more accountability.” “I’m making a morally agnostic, completely pragmatic, utilitarian argument, and I understand a lot of people will not agree with it. But I don’t view anybody who disagrees with me on this as a bad person. I recognize that my opinion is extreme on this.”

Asmongold explains why he thinks you should be able to get an abortion at any time, and compares it to the Second Amendment “My position is that you should be able to have an abortion at any time. Not because I like abortions, but because I don’t think the government can be fast enough at being able to distinguish when it’s a good or a bad decision. You can’t afford to have large scale bureaucracy involved with decisions that need to be made on a week to week basis.” “It’s the same as the Second Amendment. If we took away everybody’s guns, I guarantee you would have less homicides in America. But I don’t give a shit, because I want to have a gun. I want to be in America. So at a certain point, you have to understand that you absolutely do incur more risk and more collateral damage by allowing freedom. Freedom is not freedom from accountability. Oftentimes freedom is creating more accountability.” “I’m making a morally agnostic, completely pragmatic, utilitarian argument, and I understand a lot of people will not agree with it. But I don’t view anybody who disagrees with me on this as a bad person. I recognize that my opinion is extreme on this.”

Asmongold Updates

13,824 görüntüleme • 3 ay önce

$ABCL CEO Carl Hansen explains the net negative overall value creation in biotech and how AbCellera plans to beat it: “I really think it can be beat because there’s a lot of mistakes that get made in where you allocate capital.” “If you’re a biotech and you start a company on a drug, and you go public and have a drug, and now the data is looking not that great, you just keep running that drug. … Because if you quit that drug, the company is done.” “So, because you’re so concentrated on one thing, you end up having blinders. It’s like a cult of a molecule. And even a real, practical, capital access problem that makes you continue to move things forward” ______________________________________ “Another problem is that many of the drugs that get started, get started by people who don’t understand the competitive or commercial landscape and have no intent of ever actually manufacturing it. … Because they know someone else is going to buy it. So then their framework is not ‘Am I making a drug that’s going to make a difference for people?’ The framework is ‘Can I make something that I think someone will take off my hands?’ And that happens a lot.” “There are many acquisitions where a big pharma company spends $10B, $20B, and it’s a complete bust. So really no value is generated for patients but someone was able to get a good exit on that because they anticipated what someone would want. And a lot of decision making gets done like that”. _______________________________________ “I’m not saying that we have this all solved. But what we’re trying to do is create a framework where we are able to take many bets so that we don’t fall in love with anything, or we don’t have to fall in love with anything. … And then always hold up very explicitly what we know and what we don’t know along the dimensions that matter. The dimensions that matter are - Will it work? That’s a science. - When it gets where will people care? - Is it differentiated? - Does it solve a big problem? In order to get it there, is there a path with our resources and expertise that would allow us to see it through?” “When you start to hold things up like that, you start to see where the mistakes are, where the uncertainties are, and you can be more rational in deciding ‘We’re going to run it to here because we get to flip the card and if the card goes the wrong way we’re going to kill it because we’ve got something else behind it.’” “I do think that if done right, and if you can pick the right opportunities, the success rate can be well higher than an order of magnitude better. … And there are examples of this… companies I’ve mentioned, you know, Regeneron, their success rate is at least 10x the industry in bringing programs forward and getting them approved. … So it’s… you can do it better that way”

$ABCL CEO Carl Hansen explains the net negative overall value creation in biotech and how AbCellera plans to beat it: “I really think it can be beat because there’s a lot of mistakes that get made in where you allocate capital.” “If you’re a biotech and you start a company on a drug, and you go public and have a drug, and now the data is looking not that great, you just keep running that drug. … Because if you quit that drug, the company is done.” “So, because you’re so concentrated on one thing, you end up having blinders. It’s like a cult of a molecule. And even a real, practical, capital access problem that makes you continue to move things forward” “Another problem is that many of the drugs that get started, get started by people who don’t understand the competitive or commercial landscape and have no intent of ever actually manufacturing it. … Because they know someone else is going to buy it. So then their framework is not ‘Am I making a drug that’s going to make a difference for people?’ The framework is ‘Can I make something that I think someone will take off my hands?’ And that happens a lot.” “There are many acquisitions where a big pharma company spends $10B, $20B, and it’s a complete bust. So really no value is generated for patients but someone was able to get a good exit on that because they anticipated what someone would want. And a lot of decision making gets done like that”. _ “I’m not saying that we have this all solved. But what we’re trying to do is create a framework where we are able to take many bets so that we don’t fall in love with anything, or we don’t have to fall in love with anything. … And then always hold up very explicitly what we know and what we don’t know along the dimensions that matter. The dimensions that matter are - Will it work? That’s a science. - When it gets where will people care? - Is it differentiated? - Does it solve a big problem? In order to get it there, is there a path with our resources and expertise that would allow us to see it through?” “When you start to hold things up like that, you start to see where the mistakes are, where the uncertainties are, and you can be more rational in deciding ‘We’re going to run it to here because we get to flip the card and if the card goes the wrong way we’re going to kill it because we’ve got something else behind it.’” “I do think that if done right, and if you can pick the right opportunities, the success rate can be well higher than an order of magnitude better. … And there are examples of this… companies I’ve mentioned, you know, Regeneron, their success rate is at least 10x the industry in bringing programs forward and getting them approved. … So it’s… you can do it better that way”

Jack Prescott

31,665 görüntüleme • 1 ay önce

Potapova after beating Pliskova to reach 1st WTA 1000 SF in Madrid “If I had told you a week ago when you lost that match in qualifying that you’d be standing in the semifinals, would you believe me?” Anastasia: “No. I wouldn’t. For any money and anything. 😂 But that’s what makes our sport beautiful. I was given a second chance and now I’m here. I’m speechless. I’m super happy. There’s nothing better that could happen with me at the moment.” “We saw you getting a bit emotional at the end there. After that match point can you talk us through the emotions you were feeling?” Anastasia: “It’s just a little explosion of the emotions inside because I was given a few match points in the 2nd set on serve. I couldn’t manage my nerves at the time. I know it. But as I said it seems like this tournament keeps giving me second chances and I keep using them. I’m super happy.” ❤

Potapova after beating Pliskova to reach 1st WTA 1000 SF in Madrid “If I had told you a week ago when you lost that match in qualifying that you’d be standing in the semifinals, would you believe me?” Anastasia: “No. I wouldn’t. For any money and anything. 😂 But that’s what makes our sport beautiful. I was given a second chance and now I’m here. I’m speechless. I’m super happy. There’s nothing better that could happen with me at the moment.” “We saw you getting a bit emotional at the end there. After that match point can you talk us through the emotions you were feeling?” Anastasia: “It’s just a little explosion of the emotions inside because I was given a few match points in the 2nd set on serve. I couldn’t manage my nerves at the time. I know it. But as I said it seems like this tournament keeps giving me second chances and I keep using them. I’m super happy.” ❤

The Tennis Letter

22,092 görüntüleme • 5 ay önce