A Quote by Dolores O'Riordan
When The Cranberries got really big in Ireland, it became difficult for me to be there with all the photographers and paparazzi.
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I don't know what in the hell's going on with cranberries, but they're getting in all the other juices. Whoever the salesman is for cranberries is doing a great job. He's showing up everywhere. Hey, what do you got, some apples? Put some cranberries in there. We'll call it cran-apple and go 50-50. What do you got grapes? How about cran-grape. What do you got mangos? Cran-mango. What do you got pork chops? Cran-chops. Why don't you back off, cran-man. Why don't you take your sales trophy and have a vacation.
There weren't paparazzi standing outside. There weren't all these photographers. People really didn't know what fashion was and what was happening in the tents.
In Ireland, it's been like U2 and The Cranberries, which is rock, but you know they're Irish.
The paparazzi have got worse for everyone over the years. It has just become such a big deal. No-one in this business really has much privacy.
I got to a point where I referred to myself as Dolores of the Cranberries instead of myself because I alienated my real self from what I became so much.
When we got quite big and were generating a lot of money through the arenas, we became quite a big thing, and a lot of managers appeared, and it became a big machine, like we were in Pink Floyd or something, and I don't think we were into that. We didn't really compromise.
My family are very happy that I'm playing with Ireland. It's my dad's side, and he's really, really proud. He wants me to play for Ireland, and I'm really happy to play for Ireland.
I know most of the photographers in Ireland. And if I don't want my photograph taken, they will leave me alone.
I know some of these guys who are in that stalkerazzi world, and you really have to separate them from the paparazzi in our industry. This is another breed. And they have their heroes who got the big scandalous shot, and which just promotes more of that.
The celebrity-making machine-photographers, paparazzi, press and stuff like that-can be ruthless.
A lot of paparazzi wanted to be real photographers but they failed, and they did that instead, and it's not right; it's stalking.
I've also worked hard portraying an Ireland which is fast disappearing. Ireland was a very depressed and difficult place in the 1980s, and I've tried to include that in the script. I worked really hard to find the heart of the book.
I've had my body manipulated so many different times for so many different reasons, whether it's paparazzi photographers or for film posters. The topless Interview shoot was one of the ones where I said: 'OK, I'm fine doing the topless shot so long as you don't make them any bigger or retouch.' Because it does feel important to say it really doesn't matter what shape you are. I think women's bodies are a battleground, and photography is partly to blame. Our society is so photographic now, it becomes more difficult to see all of those different varieties of shape.
Only we were in The Cranberries. Only we know what it was like being in that crazy whirlwind of fame. We have children and spouses and lives, but there is only one Cranberries.
I don't think I made any really big mistakes; it's just that I chose something difficult to do. Looking back, I suppose I should be grateful that I got as far as I got.
You're not going to be able to deliver jobs locally unless you sort out the nation's problems, and that's why the big and difficult decisions about Ireland's economy have been so crucial and so difficult for people to have to accept and have to deal with, but the reality is the people gave this government an unprecedented mandate.
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