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Ray Pride

By Ray Pride Pride@moviecitynews.com

Screen Acting: Bob Hoskins in the final scene of THE LONG GOOD FRIDAY (2’12”)

And he was, of course, a dancer. From Shane Meadows’ 24/7:



One Response to “Screen Acting: Bob Hoskins in the final scene of THE LONG GOOD FRIDAY (2’12”)”

  1. The Pope says:

    Interesting that Hoskins was a Royal Shakespeare Company trained actor and from the third clip you could hear his RSC voice/accent. So it is a nice irony that Hoskins reached maturity and success when he resorted back to his true vernacular and accent.
    Many great performances, by all accounts an all-round nice chap and while we mourn his passing may we be grateful for the moments he gave us.

Movie City Indie

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch