A Quote by David Toop

Paul [ Burwell] and I had also got interested in making books. We'd been working with Bob Cobbing, the sound poet, since the beginning of the 70s, and Bob had this press called Writers Forum.
My first professional set was 2014, and it was for a show called 'Bob Servant' for BBC Scotland. I was working in theater for Dundee Rep Theatre doing 'Hecuba,' and I also got this other job, 'Bob Servant.' It was only three days filming.
I've been working in theater, really, since about 1965. I started working with the Mabou Mines about then, and in a way I've always worked in the theater, but it's never been a main part of my work. And it wasn't until Einstein that I kind of shifted into high gear with theater, working with Bob, with Bob Wilson. And since then I find it a very attractive form to work in. It's just an extension of my work.
I would never know how good I was if I didn't have Bob Arum. Bob Arum is white, Jewish; He was working for prosecutor's office. I'm black, an ex-convict, ex-number runner. Who would be most likely to succeed? It would be Bob 100-1. Yet I beat Bob on everything we ever done, with love.
Microsoft unleashed something called Bob, a program that's supposed to make Windows easier to use. Until a Bob helper is born, you can look forward to reading - I swear this is true - Microsoft Bob for Dummies.
I'm also a big Bob Dylan fan. The songs on The Freewheelin' Bob Dylan - which is one of his best early albums - they grow out of some of his difficulties with Suze Rotolo, and "Hard Rain," people say it had to do with the Cuban missile crisis - probably not. He denied it. I believe him, but it certainly had to do with the time.
I'm a huge Springsteen fan, and yet if either he or Bob Dylan had to be erased from the world's hard drive, I would save Bob Dylan's work for sure - he's the greater talent, and by leaps and bounds and skyscrapers and rocket blasts. But Bob Dylan is an alien to his public.
If anything had happened to Bob, I wouldn't have carried on. Me and Bob are a comedy unit.
I had a very good kiss from Bob Monkhouse once. I thought, 'If I was straight, I would go for Bob.'
Bob Hope was totally regimented. I go in and say a line like, 'Hi Bob' and I'd have to do it five times, and then Bob would take me to the writers to say the line different ways. He wouldn't let me ad-lib.
I'm really fortunate to have been to the schools I've been to, and to have the experiences I've had. And, partly since my parents are retired teachers, I've got the desire to give back. When I knew that I had that instinct, I got certified (through the Creativity Coaching Association) and I started working with artists of all kinds - though now I focus on writers.
The "Highway 61" album [of Bob Dylan] was produced by Bob Johnston if I'm not incorrect. And Bob Johnston was an entirely different producer than Tom Wilson. Tom Wilson had produced jazz records and was a Harvard educated.
I remember very vividly. I was here in New York. Nancy Holt called me and - I feel unhappy thinking about it - she said that Bob Smithson had died. I said, "Oh, Nancy, what will we do without Bob?" He was a very good friend.
'Let's Get Harry' was where I met Bob Singer and worked with him for the first time, and then 'Reasonable Doubts' was the second time, and there was a thing after that called 'Charlie Grace' that was the third time. I liked working with Bob. A nice man and a good partner.
I called a company and asked to speak to Bob. The person who answered said, "Bob is on vacation. Would you like to hold?
Albert Grossman called my office and spoke with my partner Richard Leacock and asked if we'd be interested in making a film with his client, Bob Dylan.
I've got a role in the new Billy Bob Thornton movie that Billy Bob wrote and is going to direct called 'Jayne Mansfield's Car.' I only have four scenes, but I have as much dialogue as anybody in the movie.
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