American - Actor | July 9, 1938 -
I'm not in the movie business anymore, and hardly any 70 year olds are. I always ask the producers: 'Are there no 70-year old vampires?' Apparently there are not - or even zombies for that matter. I guess they all get eaten.
Brian Dennehy
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It took a long time for me to have any impact in the business because I didn't look like an actor, I didn't sound like an actor.
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I lied about serving in Vietnam, and I'm sorry. I did not mean to take away from the actions and the sacrifices of the ones who did really serve there... I did steal valor. That was very wrong of me. There is no real excuse for that.
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My father was a classic intellectual. From him I learned devotion, and I also learned about the life of the mind.
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I remember playing John Wayne Gacy, serial killer, very sick, neurotic, screwed-up guy. You know what? There's a part of me there, too, and you explore that.
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You know, you get to a certain age, 45, 50, I don't know when it happens, I said, 'Jesus, all I got is a certain amount of time. Maybe I should think about using it a little better.'
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If you're sixty-something, pushing 70, the chances of you getting a tremendously fascinating part in the movies are very low, as to be almost negligible, or even in television. But in the theatre, there are still things to do, very interesting, very profound things.
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I idolize Gene Hackman. He is not a natural star, not an incandescent personality like Jack Nicholson, but he makes luminous the problems of being an ordinary man in an extraordinary situation.
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At 13, I was a big, totally uncoordinated, hopeless football player. I responded to somebody else's rules, and I stayed just good enough to get a scholarship to Columbia, which was looking for scholar-athletes.
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From 1965 to 1974, I served the best possible apprenticeship for an actor. I learned firsthand how a truck driver lives, what a bartender does, how a salesman thinks. I had to make a life inside those jobs, not just pretend.
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My grandfather was a really, really tough no-nonsense factory worker who emigrated from Ireland in about 1900 to Bridgeport, Conn. He had a big effect on me. Those guys who took a great leap out into what they knew not were the ones who were the real stars, the real heroes.
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No one would ever cast me as an aristocrat. I think the big thing about being an Irish artist is access to melancholy. Especially the American Irish. The availability of loss, some kind of pain, is an important part of who we are. I think my Irishness gave me that.
PainMeThinkAmericanLossArtist
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