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Colleen Brennan
Birthday:
1 December 1949
Biography
[on the possibility of writing her autobiography] I haven't given much thought to writing a book but you know if Jerry Butler for Christ's sake can "write" a book--although I remain skeptical he can read one--maybe I should consider it.
[on the possibility of writing her autobiography] I haven't given much thought to writing a book but you know if Jerry Butler for Christ's sake can "write" a book--although I remain skeptical he can read one--maybe I should consider it.
[on John Leslie] John was monogamous in his private life. He was a truly handsome guy who women often described as a "gentleman". I don't remember hearing a single negative about him from the ladies.
[on John Leslie] John was monogamous in his private life. He was a truly handsome guy who women often described as a "gentleman". I don't remember hearing a single negative about him from the ladies.
[on Henri Pachard] ...he was a genuinely nice guy. A horndog, but a funny, positive and respectful horndog.
[on Henri Pachard] ...he was a genuinely nice guy. A horndog, but a funny, positive and respectful horndog.
[on "sexploitation" director Bethel Buckalew, with whom she worked several times in the 1970s] Buckalew was the perfect director. He was very even-tempered, mellow. I think he was good at editing in his head while he was shooting. These movies were so low budget raw stock was a major expense, so shooting efficiently was a valuable skill. He was also arguably...
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[on "sexploitation" director Bethel Buckalew, with whom she worked several times in the 1970s] Buckalew was the perfect director. He was very even-tempered, mellow. I think he was good at editing in his head while he was shooting. These movies were so low budget raw stock was a major expense, so shooting efficiently was a valuable skill. He was also arguably the best looking director doing sexploitation in the '70s.
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[on dating Jerry Maren] ...a very nice man and one of the last surviving OZ [The Wizard of Oz (1939)] Munchkins I met on some dreadful little-people-as-gangsters movie [Little Cigars (1973)]. We went out once, but I was young and couldn't handle even the idea of anybody going up on me.
[on dating Jerry Maren] ...a very nice man and one of the last surviving OZ [The Wizard of Oz (1939)] Munchkins I met on some dreadful little-people-as-gangsters movie [Little Cigars (1973)]. We went out once, but I was young and couldn't handle even the idea of anybody going up on me.
Colleen Brennan
With her fiery scarlet hair, pretty round freckled face, awesomely ample, buxom and shapely figure, and infectiously bubbly good-natured personality, popular 1970s soft-core starlet Sharon Kelly was as endearing as she was alluring, a potent double whammy that, in turn, made the always exuberant Irish redhead absolutely irresistible. Kelly was discovered dancing at the Classic Cat club on Sunset Strip. The delightfully perky, comely, and enchanting Sharon made her film debut in the uproariously raunchy comedy The Dirty Mind of Young Sally (1973). Kelly greatly enlivened such choice lowbrow dross as A Scream in the Streets (1973), The Beauties and the Beast (1974), Sassy Sue (1973), Little Annie Fanny (1971), The Dirty Dolls (1973), The Boob Tube (1975), Alice Goodbody (1974), and Delinquent School Girls (1975). Sharon was severely mistreated by Dyanne Thorne in the first two notoriously nasty "Ilsa" features. She had a memorable unbilled bit as one of the titular lovely, yet lethal ladies in the terrific sci-fi/horror camp classic Invasion of the Bee Girls (1973). Kelly achieved her greatest popularity as SuperCherry in Russ Meyer's outrageous Supervixens (1975). Sharon had small parts in two mainstream pictures: She's a woman who's covered with tattoos in Shampoo (1975) and the beautifully naked corpse of Ben Johnson's murdered daughter in Robert Aldrich's gritty police mystery thriller Hustle (1975). In the early 1980s, Kelly began acting in hardcore X-rated porno movies under the pseudonym Colleen Brennan. Sharon Kelly voluntarily quit acting in the late 1980s because of the AIDS scare and went on to create her own home recording studio for phone sex hot lines.
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