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DP/30 Emmy Watch: Luther, actor idris Elba

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8 Responses to “DP/30 Emmy Watch: Luther, actor idris Elba”

  1. leahnz says:

    another englishman capable of an impeccable american accent

  2. MarkVH says:

    Stringer mothafuckin’ Bell 4 life.

  3. lazarus says:

    The guy who played Carcetti on The Wire is from Ireland.

  4. Hallick says:

    Back when “The Wire” was first on, I was shocked when I found out that Elba wasn’t a lifelong American. And Eamonn Walker did the damn same thing with his part on “Oz”. In Walker’s case, it wasn’t just the accent but his entire voice seemed to be changed from a somewhat raspy English accent to a powerful US one.

  5. LexG says:

    Sometimes Elba slips a little bit. Like in THE LOSERS, when he pronounces “taco” as “tack-o.” Can’t believe they didn’t loop that. (He pronounces it exactly like Gordon Ramsey says “pass-ta.”)

    Carcetti is INSTANT comedy. That guy should be in absolutely everything since he’s such a perfectly hateable prick. Took some time to grow into Carcetti on Wire just because Aiden Gillen is so mounmentally smarmy and sleazy from the word go, and in the early going Carcetti was supposed to be some naif aw-shucks political Wunderkind.

  6. Paul MD (Stella's Boy) says:

    And Gillen is doing smarmy and sleazy again in Games of Thrones. He sure does it well.

  7. aframe says:

    Elba seriously deserved Oscar consideration for his harrowing, fearless work in Legacy last year, but no one noticed its theatrical run in October.

  8. hcat says:

    I can’t understand why they can’t make this guy a movie star. Besides having the acting chops, able to be fierce as well having a light touch with comedy, he is easily the best looking guy working in the entertainment industry. Soderbergh needs to find a project, shoot him exactly like he did Clooney in Sight and Oceans, and watch the guy become huge.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
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“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon