Pat O'Brien

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Birthday:

11 November 1899, Milwaukee, Wisconsin, USA

Birth Name:

William Joseph Patrick O'Brien

Height:

180 cm

Although he came to be called "Hollywood's Irishman in Residence"--and, along with good friends James Cagney, Allen Jenkins, Frank McHugh and a few others were called "The Irish Mafia"--and he often played Irish immigrants, Pat O'Brien was US-born and -bred. As a young boy the devoutly Roman Catholic O'Brien considered entering the seminary to study for the priesthood, but although he often played a Father, Monsignor or Bishop, he never actually followed through and entered the seminary. And although never a policeman, in movies he often wore the cop's badge and, although in real life he had no discernible Irish accent, he could pour on the "brogue" when the role called for it.Pat O'Brien excelled in roles as beneficent men but could also give convincing performances as wise guys or con artists. He was a most popular film star during the 1930s and 1940s. Over almost five decades, he co-starred in nine films with Cagney, including his own screen swansong, Ragtime (1981). Show less «

[on Knute Rockne] He was not only a great coach but also an extraordinary human being, and I felt privileged, humble, trying to convey the g...Show more »

[on Knute Rockne] He was not only a great coach but also an extraordinary human being, and I felt privileged, humble, trying to convey the glory and the humanness that was 'Rock'. And there were frightening moments when I briefly felt as if I were Knute Rockne. Show less «

[interviewed in 1982]: I despise the Method, as do Helen Hayes, Laurence Olivier, and as Jack Barrymore surely would have. I think the Metho...Show more »

[interviewed in 1982]: I despise the Method, as do Helen Hayes, Laurence Olivier, and as Jack Barrymore surely would have. I think the Method has ruined an awful lot of potentially fine actors. Look, the theatre is nothing but a mystique. It's nebulous. You get the part, you study your lines, you see what you can do with it and, finally, you evolve yourself into the part. But the Method - be a window, be a door... what's that got to do with anything? Show less «

Women''s pictures (so-called) are talky pictures. Their use of the cigarette and the telephone break the talk, talk, talk of soap-opera stor...Show more »

Women''s pictures (so-called) are talky pictures. Their use of the cigarette and the telephone break the talk, talk, talk of soap-opera storytelling. Show less «

I am not a loner, not a solitary. I liked people, crowds, activities, so I didn't stay in dark corners. I made friends

John Ford, the old master, is the orderly type. Working for him is like being part of a ballet. He hardly ever moves the camera, but compose...Show more »

John Ford, the old master, is the orderly type. Working for him is like being part of a ballet. He hardly ever moves the camera, but composes his shots like a master painter, a Rembrandt or Degas. The actor becomes part of the scene. Ford lets the action swirl past his lens. But the reality of his seamen, miners, dust-bowlers, horse soldiers, or Wesrern heroes, when he is at his best, is a literature that the screen rarely gets. Working for him one feels a special pride. Lewis Milestone is a bouncing camera mover. For him the seeing eye is all. He stands the camera on its head, rolls it, rushes it, brings it in on the run. The actors are part of the scenery, and they must fight to survive, come alive while he catches them on the run. Neither men are static directors. They don't care for too much talk in their script, or stage business over meaningless chatter. Show less «