Bob Koo

“The life-giving preacher is a man of God, whose heart is ever athirst for God, whose soul is ever following hard after God, whose eye is single to God, and in whom by the power of God’s Spirit the flesh and the world have been crucified and his ministry is like the generous flood of a life-giving river.”
― John Piper, Brothers, We Are Not Professionals: A Plea to Pastors for Radical Ministry

“When Robinson and Davis take over at orientation, they bark at the new recruits to stand up, then issue their first command: “Smile.” Students will learn a lot of things in Strive, but the first lesson is how to smile. The first few days are devoted to it. The new class members are always confused, and then they start to smile—except for about 20 percent of the room, who stand stone-faced. Robinson calls out those who don’t smile, pulls them up to the front of the room, and says, “This is my smile crew.” He tells the rest of the room to cheer until they can get these men and women, mostly men, to finally crack a smile. The claps and hoots and whistles rise in a crescendo heard throughout the building. Meanwhile, Davis and Robinson walk up and down the line, yelling, “Smile,” and pantomiming it, using their fingers to pull the corners of their own mouths back. The reluctant recruits roll their eyes. Some get tense, their faces get stuck in passive displays of aggression, as Robinson goes up and down the line and mocks: “Is it painful? Is there a medical condition? Smile!” He and Davis continue their full-on assault of well-wishing and joking and silliness until one by one, the students fold. A smile is the Strive game face, they explain. “I’m not asking you to smile on North Monroe Street at two in the morning,” Davis says. “I’m asking you to smile in here.” It’s usually the youngest men who bow out at this stage—the 19- and 20-year-olds who are too cool to tolerate the corniness, the guys who’ve been strongly encouraged to try Strive by some parole officer or social worker attempting to keep them from spending their twenties in prison. It’s the older guys who are eager to cooperate. They’re hungry.”
― Anonymous

“All parenting involves choosing between the day (why have another argument at dinner?) and the years (the child must learn to eat vegetables). Nancy’s error seems to have been that she always focussed on the day, in a ceaseless quest to keep peace in the home she shared with the hypersensitive, controlling, increasingly hostile stranger who was her son. She thought that she could keep the years at bay by making each day as good as possible, but her willingness to indulge his isolation may well have exacerbated the problems it was intended to ameliorate.”
― Anonymous

“The dramatic interplay was more in Lester’s wheelhouse, particularly the scene where Billy Bob contemplates suicide. Wracked with guilt over disappointing his coach (and, in retrospect, possibly suffering from post-concussion syndrome), Billy Bob sits on the back of his pickup with his football trophies, a bottle of tequila, and a Mossberg 12-gauge pump shotgun when he’s confronted by Mox.

“Championship trophy. Steelers. We were 9. Remember this shit? Playing Pee Wee?”

“Yeah,” Mox says. “It was fun.”

“No, it wasn’t. I remember being yelled at.” Billy Bob throws the trophy. “Too fat, Billy Bob!” Bang! “Too slow and dumb!” He pulls the pump handle. Bang!

“It was great,” Robbins, the director, says. “I remember that night shooting that scene, and you don’t do that once, you do it over and over again from different angles. And he was just able to deliver that performance over and over again, and those were real tears and real emotion coming out of him.”

Lester drew on pain from his personal life, thinking of his late father and his sister Linda, who died at 35. He also pulled from his own struggles with suicide. Inconsolable after Linda passed, he had put a loaded gun to his head and pulled the trigger. Nothing happened. “God,” he says, is the only explanation.

“I actually have the bullet, still. It’s not a dud; it’s live. It just didn’t go off,” Lester says. “I was kind of dreading [that scene] because I knew where I’d go. But I’m an actor and I’m making a commitment to the character. To do that, you have to go 100 percent and just hope you pull yourself out of it.”
― Billy Bob's Blues