Boston Rob Quotes

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I would love to say that I wrote (Good Will Hunting). Here is the truth. In my obit it will say that I wrote it. People don't want to think those two cute guys wrote it. What happened was, they had the script. It was their script. They gave it to Rob [Reiner] to read, and there was a great deal of stuff in the script dealing with the F.B.I. trying to use Matt Damon for spy work because he was so brilliant in math. Rob said, "Get rid of it." They then sent them in to see me for a day - I met with them in New York - and all I said to them was, "Rob's right. Get rid of the F.B.I. stuff. Go with the family, go with Boston, go with all that wonderful stuff." And they did. I think people refuse to admit it because their careers have been so far from writing, and I think it's too bad. I'll tell you who wrote a marvelous script once, Sylvester Stallone. Rocky's a marvelous script. God, read it, it's wonderful. It's just got marvelous stuff. And then he stopped suddenly because it's easier being a movie star and making all that money than going in your pit and writing a script. But I did not write [Good Will Hunting], alas. I would not have written the "It's not your fault" scene. I'm going to assume that 148 percent of the people in this room have seen a therapist. I certainly have, for a long time. Hollywood always has this idea that it's this shrink with only one patient. I mean, that scene with Robin Williams gushing and Matt Damon and they're hugging, "It's not your fault, it's not your fault." I thought, Oh God, Freud is so agonized over this scene. But Hollywood tends to do that with therapists. (from 2003 WGA seminar)
William Goldman
Roller Boogie is a relic from - when else? - the '70s. This is a tape I made for the eight-grade dance. The tape still plays, even if the cogs are a little creaky and the sound quality is dismal. It's a ninety-minute TDK Compact Cassette, and like everything else made in the '70s, it's beige. It takes me back to the fall of 1979, when I was a shy, spastic, corduroy-clad Catholic kid from the suburbs of Boston, grief-stricken over the '78 Red Sox. The words "douche" and "bag" have never coupled as passionately as they did in the person of my thirteen-yer-old self. My body, my brain, my elbows that stuck out like switchblades, my feet that got tangled in my bike spokes, but most of all my soul - these formed the waterbed where douchitude and bagness made love sweet love with all the feral intensity of Burt Reynolds and Rachel Ward in Sharkey's Machine.
Rob Sheffield (Love Is a Mix Tape: Life and Loss, One Song at a Time)
And Oswaldo understood now with a clarity he'd never had before that all of Rob's troubles were self-inflicted––that on Yale graduation day Rob had stood within reach of everything he now didn't have. Maybe Yale hadn't guaranteed fame and wealth and general greatness, but it had ensured, at the very least, stability. Oswaldo had never been as smart as his friend, but he'd sorted his life out with the same odds against him. He was six months from earning an MD and had a probable job waiting for him near Boston counseling abused youths. He'd figured it out. And Rob was still, clinging, after all these years, to the idea of being the Man.
Jeff Hobbs (The Short and Tragic Life of Robert Peace: A Brilliant Young Man Who Left Newark for the Ivy League)
It was purely a case of responding to the best of my abilities to what was going on around me,’ says Mattacks, who now lives in Boston, Massachusetts. ‘I didn’t really get it until I’d been in the band about a year. I didn’t really understand the aesthetics of what they were doing. And then when I did, it had quite an effect on how I then perceived music, and my approach to my instrument and the kind of music I wanted to play.’ Mattacks was sympathetic to the ‘four-squariness’ inherent in British folk tunes, but ‘the danger with the worst of folk-rock is that it can sound ploddy, no matter the tempo. So the thing is to have that four-square thing to it, but make it swing.
Rob Young (Electric Eden: Unearthing Britain's Visionary Music)
On the surface, nothing about Bryant’s move felt logical. He was a B student with a 1080 SAT score. He was being recruited by everyone, with Duke considered the most probable landing spot. He had yet to work out for a single NBA scout, many of whom had never actually heard of him. “He’s kidding himself,” Marty Blake, the NBA’s scouting director, told the Los Angeles Times. “Sure he’d like to come out. I’d like to be a movie star. He’s not ready.” “You watch Kobe Bryant and you don’t see special,” said Rob Babcock, Minnesota’s director of player personnel. “His game doesn’t say, ‘I’m a very special talent.’ ” “I think it’s a total mistake,” said Jon Jennings, the Boston Celtics’ director of basketball development. “Kevin Garnett was the best high school player I ever saw, and I wouldn’t have advised him to jump. And Kobe is no Kevin Garnett.
Jeff Pearlman (Three-Ring Circus: Kobe, Shaq, Phil, and the Crazy Years of the Lakers Dynasty)