Actors From Ireland

"Steaks every day for me. Steaks for breakfast. Steaks for lunch. Steaks for brunch. Grass-fed, massaged beef. All day long."

"I think Floyd needs to learn before he opens his mouth. You don't put a man like me in a situation like that. You know, you put me in a name that's got to do with prejudice when you know nothing about me. I am a multi-cultured individual. I take from all cultures. Look at me. I am a product of many cultures as a young, Irish man. I know he wasn't saying that I am that person, but it put me in that bracket and I did not appreciate that one bit. There's people buried in the desert for less than that so Floyd needs to understand before he speaks who he is speaking about and that is as simple as that."

"On March 5, I will behead Rafael dos Anjos. I will drag his head through the streets of Rio de Janeiro, through a parade of people I'd imagine. It will become a national holiday also I would imagine."

"I am in a league of my own. The game is on it's knees. The game must hold seminars every weekend to pay for their training costs and I'm out here rallying around California in a car that spits fire, dressed like El Chapo, with anacondas on my feet. So, I am in a league of my own here, ahead of everyone in the game by a country mile."

"You're damn right I'm in it to make money. This is prizefighting, I'm in it to get rich; fast. And then I'm in it to get out... I'm in the business of securing my own future, my family's future, and that's it. That's what I'm in it for. The fight game doesn't last long, competitive fighting doesn't last long. Learning martial arts, and training, is for life because that's medication to me so I will do that forever. But, as far as the fight game, I'm in it to get all the money, all the belts, and then I'm gone."

"Prizefighting is short. Get in. Get rich. Get out. But martial arts is for life. It's for life."

"I'm the money fight in the male shit at all divisions so fuck everybody else"

"I'm going to change the way martial arts is viewed. I'm going to change the game. I'm going to change the way people approach fighting."

"Business is business. It’s never personal. It can be cruel, it can be ruthless, but it is never personal."

"I just want to swing a few lefts and a few rights for a couple of hundred mill in peace."

"For [Aldo] to say he is the king and I am the joker, if this was a different time, I would invade his favela on horseback and kill anyone that was not fit to work. But we are in a new time. So I'll whoop his ass in July."

"Of course I want that gold belt. Don’t tell me that gold belt sitting up here right now on this table would not look great along side this ivory, elephant-trunk suit that I have got on me right now. It would look perfect."

"Trash talk? Smack talk? This is an American term that makes me laugh. I simply speak the truth. I'm an Irish man. We don't give a fuck about feelings. We'll tell you the truth. People ask me a question about somebody, I tell them the truth. I don't have anything bad to say about Jose Aldo. It's pretty plain and simple. His time is up. It's done. There's somebody ruthless coming to get him. There's somebody cold coming to get him. I can look at him dead in the eye and say, It's done. You're over now. You're a champion that nobody gave a fuck about. Nobody cared about him before I came along. Nobody cared about the division before I came along. He's a decision machine. He can barely finish his dinner, never mind his opponent. And he's fought bums. He's fought little small bantamweights and he still can't put them away. Now he's coming in against a monster of a featherweight who hits like a truck. It's over for him. I don't need to say jackshit else. July is a wrap. It's inevitable."

"I am cocky in prediction, I am confident in preparation but I am always humble in victory or defeat."

"One thing about martial arts: People can say this fight game is dangerous and its brutal but my mind is strong. I'm fit in body and mind and that's something that not a lot of other careers can give to a person."

"It’s tradition. I remove a head, I bring it backstage, I place it on Mr. Fertitta and Mr. White’s desk. "Here you go boss. Another one done." And then we discuss big business."

"We're not here just to take part; we're here to take over."

"Celebrity worship syndrome … is indicative of a kind of a complete dissolution of the self in favor of another. … Whether it's a mob mentality or a desire to be controlled by something higher than you, these cases are indicative of how charisma can replace the ego."

"Having one's image — and effectively, life — democratized, dehumanizes and sometimes objectifies it into an entertainment product."

"What are the dangers, then, involved in being a celebrity? On the one hand, there's … the true loss of the self by virtue of being over-democratized, over-saturated, over-loved, perhaps. Without an internally directed compass, an ego can drown in its own fascination, rendering the bearer unable to posit or hang anything actual onto themselves. This again is essentially the argument from commodification, which prescribes a kind of a ravenous, ecstatic feast upon a soul until it becomes defined purely in terms of its external ability to in fact be consumed."

"I realized I had, unbeknownst to me, signed an invisible contract which required me to enter into a strange new echelon of society. People suddenly wanted to take pictures of me on the street. Journalists were interested in the kind of socks I preferred. … It was an atmosphere from which I instantly wanted to retreat. I detested the superficial elevation and commodification of it all, juxtaposed with the grotesque self-involvement it would sometimes draw out in me. Being a faceless member of a mob, I soon realized, is far more comforting than teetering on a brittle pedestal one inch off the ground. The exclusion and subtle differentiation that comes with even the rather diluted form of celebrity that I have embarrasses me."

"The danger hidden within Weber's charismatic celebrity is … having a predisposition to imitate any one individual must always have its negative impact especially when the role model does not feel a duty … to instantiate suitable values to adopt."

"Something rather frightening takes place, namely a self-fulfilling fame that's come up only in the past decade or so, that does not need to base itself in adaptive skill, or any skill for that matter. All it needs is the fuel of more celebrity, and thus more prestige, and thus more celebrity, and so on ad infinitum."

"In all these years of recuperaion, I over-used one half of my body. So, when I did a short sprint on the beach, I just fell and couldn't get back on my feet again. In the bad time following I was helped by my two wonderful brothers, who got me into a hospital and assisted me in many ways, God bless them. As it turned out, the hip bones of the side of my body which had been overly stressed were severely damaged, and so I had a very hard time after that."

"(Sean Connery) was the most conceited actor I've ever worked with! He is rich, successful and handsome...good Lord, why does he act that way? He doesn't want anybody near him! If there was anything or anybody that might have taken the eyes of the spectator off of him, he just went to the director and complained, as if he didn't already have enough screen time! Murray Abraham was so different, such a nice man...And there was one brilliant German or Austrian actor on this movie who looked like Falstaff, big, fat guy, a marvellous presence. Helmut Qualtinger was his name. He was terrific!"

"That movie (Zombi Holocaust) was also shot in Croce Verde. Not exactly on the same spot as the Emanuelle movie, but very near. I particularly remember the lovely leading actress, Alessandra delli Colli, the wife of one the greatest Italian cameramen, Tonino delli Colli. There was also this great Japanese guy, who used to have real snakes curl up on his belly! He was incredible."

"This midget, whose name was Domenico, once introduced me to a good-looking man who was something like his butler. One year later, the poor little man was found on a dumpheap outside of Rome. The young man had killed him, just a block away from this bar we're sitting in right now! Truth sometimes is stranger than fiction..."

"The leading lady of this film (Yeti) happened to be Antonella Interlenghi, the daughter of Antonella Lualdi. The girl very obviously inherited her mother's beauty, but she had the silliest pseudonym I've ever heard. She called herself "Phoenix Grant". I mean, what kind of a name is this? It's just as if I called myself, say, Hyde Park Corner Montgomery. Or Hamburg Rommel, how about that?"

"A guy once told me, I didn't know you went to South America. I said, I've never been to South America. But I saw you in a film (EMANUELLE GLI ULTIMI CANNIBALI), with snakes and every damn thing...That was Croce Verde."

"Svenson taught me how to speak German in this film! I didn't know anything, and this guy, who used to be a Swedish ice-hockey player who went to Vietnam as a Marine, he stood there with me, coaching me things like `Bringen Sie die Gefangenen in mein Buro!' Williamson also was a very nice person. I had one wonderful scene in this movie, where I...I was outranking them, they are my prisoners, I walk in front of the prisoners, and I have to say something like, in a very contemptuous way: `Americans...Italians...Jews...Irish!' I felt like a traitor!"

"I can't remember how they did this effect [on 1977's Mannaja), but it looked awful! One of the girls said to me that I was made of steel because Maurizio dragged me through the rain with the rope around my neck. That was tough indeed. Poor Maurizio died some time after that in a tennis accident."

"(William Berger) was a guy who had everything. He was handsome, knew how to act. He could have gone all the way to the top. But he got mixed up with drugs. I got a couple of parts because he was busy or he was arrested. When I made that Crea film, Berger had just been arrested because somebody had left drugs in his place, on the Costa Amalfi. His wife died in prison. I didn't get along with him because he was too hippy or what they call it, and I'm square! I don't drink, I don't smoke, and that's the way it is...But I knew so many psychedelic sophisticates in the early 1950s in Paris, that I just have my problems with them."

"(The Italian film industry) take a film like HEAT, with de Niro and Pacino, and they put it in 20 cinemas. Our Italian productions never get a chance here except for the real big ones. Dario Argento's new movie (The Stendhal Syndrome), look, it is shown in one lousy cinema! And then they complain that people don't see Italian movies? Fuck, in a city like Rome, with 3 million people, and so little Italian stuff! If the new Argento movie is in one cinema, and the cinema happens to be on the outskirts, who's gonna go there? That's why these films sink, because they aren't properly distributed, because nobody cares for them! That's a shame."

"I was supposed to wear this really great costume [on Il Brigante], beautiful white flannel trousers, a captain's cap, it looked marvellous, but right before shooting they had it changed and they told me to wear my own stuff instead. I felt rotten because it looked so cheap."

"I slipped out in the bathroom of a Parisian hotel and hit my head. I was in coma for about three days, and when I woke up, one half of my body was paralyzed."

"I remember that they had this wonderful effect for my demise [on 2020: Texas Gladiators], with my skull being cracked open by an axe. They had photos of this stunning effect made, but then decided to change it because they thought it was just too much."

"(Laura Gemser) was a very quiet woman, très réservé, but not in a snobbish way. She was very, very lovely. I worked together with her again, on Aristide Massaccesi's RITORNO DALLA MORTE, a Frankenstein movie made in 1992. She worked as a costume designer. This was another instance where I said something wrong: I told her how terrible it was that Tinti was dead, him being such a nice man...She had to rush out of the room because she was overwhelmed by her feelings for Gabriele."

"This was a wonderful role. I played a Sicilian baron. They had incredible locations, for instance this majestic castle, I couldn't believe how beautiful it was! We also shot a scene in Hadrian's Villa, in a place called Sanctuario di Ercole. I had a great costume - the costume designers also worked on Visconti's GATTOPARDO. It's a mystery to me why they wouldn't let the film out. It's terrible for an actor: You think you have a big break, then the film just rots on the shelf! Also, the director was a very likeable person, very calm on the set. A wonderful movie."

"I always preferred those movies I would have a large role in. If I had to choose between a small movie with a big role and a big movie with a small role, I'd take the one with more screen time. It's not very satisfying for an actor to get work and then ending up on the cutting room floor."

"(Lucio Fulci) was a great director. Many terrible things happened to him in his life. He was rather unlucky. I have always enjoyed working with him greatly, as he was a truly original human being with a great love for cinema."

"(Raimund Harmstorf) was an incredibly good-looking guy. He used to be a Decathlon athlete, I think. These people have the best physiques because they have to do everything, run, jump, throw weights."

"[Camilla Fulci] was about 15 or so at the time. I tried to remind her of her riding along the set [of 1975's Four of the Apocalypse). She looked very strange, when I said that. A stuntman led me away and showed me that the lower half of the poor girl's body was paralyzed because of a riding accident, just like that of Christopher Reeves! She was such a lovely girl. It made me feel very bad that I had said that.""

"(Camille Keaton) was very nice, but I remember, when we talked to each other, she behaved like a verginella, a little virgin, you know, always avoiding sex in conversation. She did sex movies, you say?"

"I remember that this production [IL SESSO DELLA STREGA] was so cheap we were thrown out of the hotel we were staying at. Believe it or not, we realized that each one of us would have to pay for himself! They sure had money trouble."

"(John Steiner) was a good actor, but we didn't get along well. I am Irish, he is British, maybe that's why..."

"[GIOCHI EROTICI DI UNA FAMIGLIA PERBENE] was one of these sex flicks where the cameraman always measures the distance between the camera and your crotch, which makes for a very strange working atmosphere."

"On one occasion, I tried to cash in the pay check, and they wouldn't give me the money, 'cause the check was for one `Donald O'Brien'. So I had to go to the Embassy and have my passport corrected, with `Donald' in parentheses."

"Sollima was considered to be the intellectual among the Western filmmakers. I enjoyed working with him. He was a very intelligent and gifted man."

"(Gordon Mitchell) weighed 220 pounds when he did these muscle pictures, and he went down to 160 pounds for this movie, like nothing."

"[Unnamed actress on the set of Grand Prix] never had eyes for me. Hell, she wouldn't even talk to me, after she'd found out that I was just an unimportant actor. Good grief! Then, this is what happened: We were sitting in the foyer of the Hotel de Paris in Monte Carlo. She, myself and Antonio. Then an assistant director crossed our path. That actress was trying to get him to take us to the theatre where they were showing the rushes of the day before. After some discussion, she persuaded him. He said: `Be quiet, I'm gonna lose my job...' So we hid in the balcony, looking down, where that wonderful director Frankenheimer was sitting. After some minutes of racing cars, finally her scene came, and she was doing a phone call - she was playing a sophisticated magazine editor -, and suddenly you could hear the director, who had this loud, resonant voice, howling in rage, because he didn't like her at all. `Oh my God, she's awful! She can't walk, she can't talk, look at her hair!' So he turned to that faggot hairdresser, who was like Katherine the Great, and this guy said: `Well, usually she plays this peasant types. I don't know why you cast her for this role in the first place!' And remember, this actress was sitting there with us, and she nearly went crazy! She was squirming with embarrassment. This is an actor's nightmare, you know. The next day she was fired."