Top 15 Donald O'Brien Quotes

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.

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.

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...

(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!

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.

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.

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.

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.

(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.

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.

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!

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.

(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.

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.